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The 

^4lviene School 

of 

Dance Arts 


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TWO-TWENTY-FIVE 
WEST FIFTY-SEVENTH STREET 

: : near Broadway : : : 


ENTRANCE TO GENERAL OFFICES 

225 WEST 57th STREET, N. Y. CITY 




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/^ HE individual photographs 
shown in this catalogue repre- 
sent celebrated artists who have 
either graduated from the regular 
course or studied under the per- 
sonal tutelage of 

Mr. Claude M. Alviene 



i 



• .Copyright, 1918 

By Alviene United Stage 

Training Schools, Inc. 



] 



DEC 17 1913 
©CI.A50694 i 






Officers of the 

Alviene School of Dance Arts 

ALVIENE UNITED STAGE TRAINING SCHOOLS, INC. 

New York City, N. Y. 



Claude M. Alviene 
President 

Thos. B. Irwin 
Vice-President 

N. C. Alviene 
Treasurer 

James Martin 
Secretary 

W. A. Cooper 

Assistant Secretary 

S. E. Horan 
Business Manager 

Edwin Hazard 
Press Representative 

Foley and Martin 
Counsel for Alviene Schools 

Bankers 

Garfield National Bank 

5th Ave. and 23d St., N. Y. 

AND 

Gotham Bank 
Columbus Circle, N. Y. 



Three 



INDEX 



PAGE 

Alviene School of Dance Arts.. 6 

Alviene Dancing 16 

Alviene Technique 7 

Alviene, Mr. Claude M 26 

American Dance Art 55 

Appearances, Public Student. . 37 

Applications for Enrollment. . 79 

Acrobatic Dances 63 

Auxiliary Courses 24 

Certificates and Diplomas 28 

Certificate of Graduation, Nor- 
mal Course 74 

Classical Nature and Interpre- 
tive Dances 52 

Costume for Practice 13 

Dalcroze Eurythmics 58 

Dance Culture — Its Results.... 54 

Dance Writing 70 

Departments of the Alviene 

Schools 80 

Directory of Studies 20 

Dramatic Training — Its Impor- 
tance 45 

Eccentric Dancing 63 

Egyptian Dances 50 

Eligibility 12 

Entrance — Dates of Entering. . 21 

Evening Instruction 13 

Exhibition Dancing 59 

Faculty, The 10 

Faculty — Ideals and Personnel 8 
Financial Advantage of a Dance 

Education 11 

Folk Dances 74 

Grecian Dances' 52 

High Kicking Dances 6^ 

Hindoo Dances 50 

How to Enter the "Alviene 

Schools" 12 

Impromptu Dances Arranged to 

Order 41 

International 37 

Interpretation 28 

Interpretive Dancing 52 

Irish and Scotch Dances 62 

JUVENILE DEPARTMENT 76, 78 



PAGE 

Juvenile Department — Rates of 

Tuition 78 

Living Accommodations in New 

York City 13 

Make-up 25 

Male Dances 42, 55, 57, 61 

Master Tutor, The 27 

Military Dances 64 

National and Character Dances 65 

Nature Dances 52 

Normal Courses 72 

Novelty Dances 42 

Opera, Grand and Light Opera 

and Musical Comedy 48 

Oriental Dances 50 

Pantomime 35 

Private Lessons 58 

Private Lessons — Tuition Fees. 58 

Professionals Coached 27 

Professional Training in Stage 

Dancing 22 

Rag Dances and Buck Dances.. 62 
Rates of Tuition: 

Stage Dancing — Junior and 

Senior Terms 24 

Tap and Step Dancing. ... 64 
Toe Dancing — Junior and Sen- 
ior Terms 32 

Rules and Regulations 14 

Russian Normal Dancing 19 

Screen Dancing 66 

Singers — Courses for 43 

Six Months XXX Course (Jun- 
ior and Senior Terms) 22 

Social Advantages 12 

Soft Shoe Dances 64 

Song and Dance 62 

Spanish Dances 51 

Specialization 9 

Staff, The 10 

Talking Songs 46 

Tap Step and Rag Dancing ... 60 

"Theatre Magazine" 47 

Theory 73 

Toe Dancing — Junior and Sen- 
ior Terms 32, 34 

Vocalists — Auxiliary Courses 48, 49 



Fo\ 



FACULTY 

Claude M. Alviene 
Balletmaster — Stage Director — Producer 

Mlle. Neva, Mrs. Alviene 

Assistant Principal — Russian, Classic, Toe and Interpretive 
Dancing 

Mme. Editora Loreta 

Russian, Classic and Ballet Dancing 

Blanche Young 

Modern Stage Dancing 

Rora Arraza \ y 
Spanish Dancing 

Ida Lenggenhagen 

Eurythmic Dancing 

Dorothy Cropper 

Normal Dancing and Social Department 

William Faulder 

Tap and Step Dancing 

Michael Bell 

Tap and Step Dancing 

Maude Hipple 

Pantomime 

Anna Cooper 

Pantomime 

Wm. Broich {/ 

Make-up 

H. A. Farnham 

Artist, Costume Sketches and Designs 

A. E. Berdon 

Musical Director 

Maude Townsend ) 

LOUISE SEYFRIED > Pianists 

H. Hageman ) 

Five 



THE ALVIENE SCHOOL OF DANCE ARTS 

The Standard School of America 

THE claim of being the national institution of 
America in the dance and its allied arts is more 
than a claim, it is a distinction and an honor 
conferred upon "The Alviene" by professionals, 
managers and critics aware of the excellence of Al- 
viene training, and the contribution it is making to 
the Dance Arts and their progress in this country. 
The merits of Alviene instruction are expressed in 
the high degree of excellence in artistic achievement 
of both the Alviene School of Dance Arts and its 
graduates. 

Success for the student is the test of tuition. Man- 
agers, directors and artists of international reputa- 
tion whose one aim is artistic and financial achieve- 
ment have contracted for the services of Alviene 
students. And this is a real recognition and value 
of an institution, an honor bestowed upon the Al- 
viene School and an endorsement of its curriculum. 

The words "Alviene" and "dance Success" are 
synonymous: and "Alviene" is the open sesame to 
the theatrical world, which recognizes the prestige 
of the name and the exceptional quality of the Al- 
viene graduates. 

The Alviene system of dance instruction, such are 
its great merits, is universal. But, where others 
adopt this system mechanically, the Alviene School 
infuses into the system personality and creative 
genius. New ideas are developed and the influence 
of this upon the student is remarkable. The Alviene 
system combines both rapid progress and that artistic 
poise, professional elan and charm of natural dancing 
portrayed which distinguish the exceptional dancer. 

To have real artistic value, practical work and 
study must rest upon a basis of sound technique, and 
Alviene students start with theoretical and practical 
work immediately. This unity of theory and prac- 
tice insures rapid and right progress. Moreover, the 
Alviene system conveys to the student the idea of the 

Six 



dance and actual stage experience, imparting an artis- 
tic distinction and finesse to the work. 

Each student taking up the work is studied for 
that particular bit of personality which distinguishes 
him from others, and which, if developed in rela- 
tion to his dancing, insures an individual and artistic 
success. 

Upon a solid basis of technique alone, however, 
can the flower of perfect personality sprout forth. 
And so the Alviene system is rigorous in its technical 
training, developing absolute control of the body, 
freedom of movement and that easy, flowing grace 
and repose in action which is bound to command 
distinction and approval from the spectator. 

The world doesn't stand still. New ideas are al- 
ways arising. The Alviene school is ever on the 
alert for new ideas and developing new ideas. Mr. 
Alviene is in close touch with these new ideas and 
developments, and our pupils receive an inestimable 
advantage in the contact they receive with these 
ideas. 

When a student, accordingly, leaves the Alviene 
School, he is impregnated with the spirit of the the- 
atre art, an artist in action and ideas. This is an- 
other reason for the rapid success of our students, 
artistically and commercially, in the professional 
world of Dance Arts. 



ALVIENE TECHNIQUE IS MASTERY OF 
THE ART 

Alviene technique is the quintessential expression 
of the foundation of the dance in whatever form. 

Alviene advanced technique is the final, masterly 
product of Mr. Claude M. Alviene's life work. It 
is the unity of Mr. Alviene's own original research 
and experience, and the technique of the great Euro- 
pean masters of the dance. 

Alviene technique is arranged and systematized 
by means of the laws of modern psychology; it allows 
the expression and encourages the development of the 

Seven 



student's individual talent and personality, inspiring 
the student to strive ardently, not alone for mastery 
of technique but for originality, high ideals and 
characteristic expression. 

Alviene technique is the key opening up the mys- 
terious world of the dance, revealing its wonders and 
secrets refreshing and invigorating the student. It 
awakens the talent, inspires the student and develops 
an insatiable appetite for excellence — and thus it 
automatically produces results. 

"The master," says Mr. Alviene, u who would 
excel must know intimately his own art and that of 
the other masters." 

Only by blending all the splendors of the dance 
into one beautiful, harmonious unity can a master 
impart all that is of value to his students. Mr. Al- 
viene, accordingly, while conserving the best tradi- 
tions of the past, is not bound by the fetters of custom 
and deadening routine. His soul reacts to the stimu- 
lus of life itself, to the ever-changing forms of the 
dance; Mr. Alviene investigates the technique of all 
masters in all parts of the world, accepting, rejecting, 
improving, so that his technique is a marvel of prog- 
ress and efficiency. 

Mr. Alviene's interests are as alive as life itself, 
as wide as the world; he is not, as many masters are, 
a recluse in a studio, dormant to new arts and crea- 
tions. 

Students of the Alviene School of Dance Arts are 
assured of the most thorough and far-reaching tech- 
nique, conscientious, artistic endeavors, and a spirit 
of achievement that makes for success, great and 
everlasting. 

THE FACULTY— IDEALS AND PERSONNEL 

THE ALVIENE SCHOOLS 

The Alviene Schools are a merging into one great 
institution devoted to the expressive arts of separate 
departments. 

The merits of each are embodied and unified into 

Eight 



one great institution. Each department conveys to 
the other the value of its particular esprit and psy- 
chology, the whole being under the direction of one 
central, dynamic mind — Mr. Claude M. Alviene. 

The value of this association is great, as each par- 
ticular department and its art merges on the other, 
and the students in each are assured of a general at- 
titude and technique. 

Mr. Alviene's reputation is national. The name 
is a symbol of sincerity, merit and authority. His 
remarkable executive ability organizes his own artis- 
tic genius and whole work of the schools into one liv- 
ing, efficient institution, with a personality as unique, 
as vital and inspiring as that of an individual. Mr. 
Alviene combines an intimate knowledge of all the 
arts represented in the schools, a knowledge derived 
from actual experience as well as from a study of the 
theory as developed in all parts of the world. 

The Alviene spirit, which animates the Alviene 
Schools, is the spirit of art, of progress, of a sincere 
love of art for art's sake. It is this fine spirit which 
stimulates the student, develops in him an artistic con- 
sciousness and the ambition to excel. 



SPECIALIZATION 

The special feature of the Alviene School is that the 
instruction, instead of being given by a single teacher, 
is given by a faculty of specialists, each one the master 
of his field. 

Faculty teaching, as opposed to individual teaching, 
makes strongly for thoroughness, which is the essence of 
conscientious art. For one teacher to develop classes in all 
the branches of dancing as taught today is physically and 
artistically impossible. Individuals are neglected, details 
slighted. But it is individuality that makes the inspiration 
of every art, and a loving care for details that alone gives 
perfection in technique. 

When the instruction is given by a carefully selected 
faculty, the pupil who studies in several fields receives 
from each teacher an authentic impulse, a special inspira- 
tion, often discovering, in varied personal contact, abilities 
of which he had been unconscious, and always developing 
to the utmost his stronger native bent. 

The faculty system of instruction is the most efficient 
for the pupil and artistically the most fruitful. 



Nine 



THE STAFF 

Each department comprising the Alviene Schools 
has its staff of instructors, each a specialist and ac- 
knowledged master, directed and animated by Mr. 
Alviene's own superb genius. 

THE FACULTY 

As principal of the well-known Alviene School, 
Mr. Alviene gained enviable and universal fame. 
He qualified as a master in the capacities of artist, 
instructor and director; originated the modern prac- 
tical system of training now in vogue at the Alviene 
Schools. 

During twenty-five years of constant activity he 
has won more than national reputation for the insti- 
tutions with which he has been identified, and hun- 
dreds of professional artists have become known 
under his tutelage throughout the United States and 
Europe. 

Mr. Alviene's remarkable executive ability and in- 
ventive faculties have, placed him at the head of his 
profession. A veritable genius in his art, he is 
credited with having brought out more successful 
artists than any other school. His intimate knowl- 
edge of dance and expressive arts, combined with 
long experience and special gifts as a director, no less 
than the wide recognition accorded him by the pro- 
fession, qualified him to select a faculty which has 
met with accuracy all the purposes and requirements 
of the celebrated "Alviene Schools" — schools of al- 
lied arts, with its own faculty of instructors, which 
afford the seeker of a dance education the greatest 
possible training with the advantage of economy of 
time and expense. 

In framing the personnel of his faculty, Mr. Al- 
viene determined on an all-star cast; the result is a 
group of instructors every one of whom is a specialist 
and an acknowledged leader in his line. All are of 
ripe experience, all have been connected with the 
profession for years, and have learned to know it in 

Ten 



all its phases and caprices. They have a faith unfal- 
tering and optimistic ideals. Rather than a thirst 
for mushroom profits or a consuming desire for divi- 
dends, they are actuated by the highest motives of 
pride in artistic product, — success on the broadest 
lines, — ambition to excel. 

Founded over twenty-five years ago, the Alviene 
Schools have built upward from a foundation that 
has stood the test of time, from which policies have 
been inaugurated and plans formulated that have 
met all conditions. 

Alviene Schools have a personality — the person- 
ality of art and the love of art, the personality of 
a being, sincere and courageous, enthusiastic and a 
doer of deeds. 

FINANCIAL ADVANTAGES OF A DANCE EDUCATION 

As to the financial advantages of a dance education, thert 
is always a demand for competent dancers. The field is 
never crowded with good ones; but there are always many 
who, with little or no training, are seeking engagements 
which can only be filled by competent artists. Almost in- 
credible salaries are paid to dancers of reputation who have 
brought their art to a state of perfection. Then there is 
the new field for dancers in screen plays. 

How many who attempt dancing are prepared? It must 
be admitted that they are few and far between. Naturally, 
all those who are prepared, "when an opening presents itself," 
are ready to grasp the opportunity. Another fact which 
demonstrates the remarkable progress the dance has made, 
is shown by the fact that the offerings of musical productions 
at the New York theatres are always in the majority, many 
of which depend upon the dance, not only as a supplement 
but as a vital factor, in both ensemble and single or solo num- 
bers, to make the hit and hold the show. The dance even 
invaded grand opera, and its patrons were captivated with 
the lure of the dance. The dance today is a paramount fea- 
ture of grand opera, light opera, musical comedy, vaude- 
ville, social entertainment, home functions, charity enter- 
tainments, fantasy pageants — to all the dance is indispensa- 
ble, even in public schools, elite boarding schools and girls' 
schools. 

The Alviene School of Dance Arts adapts its tuition to 
the purposes of the professional theatrical requirements and 
endeavors to select as students persons who qualify to meet 

Eleven 



the just demands of theatrical producers and managers, and 
to start every student on the upward path to success by 
helping him to select that branch of the art for which he is 
best adapted. 
Just Claims This institution does not claim the impossible ability to 
create world wonders within a specified time, but aims to 
develop all the latent talent and capabilities of every student, 
and to assist him in selecting the proper branch of the pro- 
fession. We bring all possibilities within him to the sur- 
face in the shortest time possible according to each indi- 
vidual case. 

SOCIAL ADVANTAGES 

The social advantages of a dance education are numerous. 

Artistic dancing is becoming more and more a requirement 

for a proper social education. 

The Mental and Moreover, and this is vitally important to the aspirant 

Ph 7 s * c ^i T ° ne f° r social honors, dancing is an always welcome feature at 

Initiates ^ome e ^ te soc ' 13 ^ functions, at charity entertainments, amateur the- 

Collectivel'y from atricals, concerts, dance recitals and private and public 

No Other Form schools, boarding schools, home functions, etc. One need 

of Education not nave t h e i east d es i re f or a professional stage career in 

order to study artistic dancing. The dance is a social and 

artistic necessity. 

The grace of carriage, the freedom of expression, and the 
refinement of manner that come as a natural sequence to 
the mastery of dancing betoken the highest standard of mag- 
netic personality. 

ELIGIBILITY 

Applicants from various walks in life, those who have en- 
joyed every advantage of a modern education, others whose 
desires for the artistic were, for various reasons, denied 
them — all may participate equally in the benefits of a thor- 
ough training in the Art of the Dance. Persons desirous of 
improving their culture for professional or social purposes — 
all are equipped with an expressive dance education and 
training necessary to their largest capabilities. 

HOW TO ENTER THE ALVIENE SCHOOLS 

Those desiring to enter are requested to call, write or 
phone for application blank. 

Applicants living within a reasonable distance are urged 
to call. An interview may be advantageous and will en- 
able the principal to advise of the courses and dancing best 
adapted to the individual requirements. 

A blank form will be sent in response to a letter of in- 
quiry, and should be filled in by the applicant so as to in- 
sure intelligent answers to questions. 

Twelve 



LIVING ACCOMMODATIONS IN NEW YORK CITY 

The Alviene School is located in the leading studio district, with 
hotels, apartments and boarding houses of excellent tone in close 
proximity, where accommodations at reasonable rates may be ar- 
ranged. 

Recognizing that a comfortable living place is an aid to serious 
study, the management invites correspondence with students from 
a distance and offers freely its information and aid. 

A list of addresses of first-class hotels and furnished rooms, 
with or without board, is kept on file at the office for the accom- 
modation of students. Room and board range from $8.00 to $12.00 
weekly. Furnished rooms, $3.00 weekly and upward. Table 
board $5.00 to $8.00 weekly. 

The Alviene School management also highly recommends, as 
a temporary home for the student while in New York City, the 
following named young women's clubs, which have a partially 
endowed basis: 

The Three Arts Club, 340 West 85th Street. Two references 
required. 

The Studio Club, 35 East 62nd Street. References required. 

Young ladies desirous of securing residence with either of the 
above clubs should apply to the Club's secretary as long in ad- 
vance as possible, and state that they are prospective students of 
"The Alviene." 

For rooms with or without board, the Bureau of Boarding 
Houses for Girls, 11 West 37th Street. Here young women stu- 
dents (for a fee of 25 cents on placing) may receive a list of re- 
fined houses or homes having vacancies, at various prices, within 
the vicinity of the School. 



PRACTICE COSTUME 

Ladies are requested to wear short, medium full skirt over close- 
fitting bloomers, loose waist to allow perfect freedom of move- 
ment and ballet slippers. 

Gentlemen should wear loose-fitting trousers, negligee or ballet 
shirt (light colored) with soft collar, black tie and ballet slippers 
or flexible dancing pumps. 



EVENING INSTRUCTION 

The Alviene School strives to be of service to all. 
Evening classes and private lessons in any study of 
the day courses are arranged two and three evenings 
weekly for those occupied during the day. A con- 
densed though not restricted form of training 
adapted to particular needs may be taken under the 
tutelage of instructors presiding over the day lessons 
by which the sincere, persevering student may secure 
all the essentials of his art in evening studies. 



Thirteen 



RULES AND REGULATIONS 

1. Read the call-board upon entering and before leaving the school. 

2. Pupils must be prompt and regular in their attendance. 

3. Gossip, criticism and traces of make-up and discussion of studies and 
work in public places must be entirely avoided. 

4. Students must conduct themselves quietly and discreetly while in the 
school. All talking and whispering in the classroom is strictly forbidden. 

5. Prompt attendance is demanded at all classes, rehearsals and lectures 
of the course for which the pupil is enrolled. 

6. All business arrangements for any additional tutelage desired must be 
made at the School office and not with the teachers. 

7. Students must govern their conduct, while in the school building, 
according to the Rules of the school. 

8. The tendering of gifts and gratuities to instructors or officers is posi- 
tively forbidden. 

9. Students are not permitted to seek or accept any amateur or profes- 
sional engagements or to appear in public without the consent of the officers 
of this school. 

10. In all dance plays or review performances given under the direction 
of this institution, students are required to render such professional services 
as may be deemed necessary by the faculty. 

11. Any of the instructors of the "Alviene Schools" may be changed with- 
out notice when such change is advisable. 

12. Students who discontinue, prior to the expiration of their course, or 
violate any of the rules or regulations, forfeit their membership and all claim 
upon the "Alviene Schools," and are not entitled to a return of the tuition 
fee, in whole or part. 

13. Students who show indifference or become uninterested in the work or 
attendance forfeit their membership and all claim upon the schools. 

14. Misconduct or disobedience of these Rules is sufficient cause to sus- 
pend or expel any student, at the discretion of the Board of Directors. 

15. The number of students accepted in each class is limited. 

16. Classes may be entered for a consecutive period of lessons, only. 

17. No rebate is given for lessons lost during a course, except in cases 
of protracted illness, when a reasonable extension of time is allowed, in 
which to complete the course. 

18. All individual lessons are of half-hour duration. 

19. The duty of this school exclusively and legitimately is to give in- 
struction and on no other condition will applicants be accepted as students; 
therefore it must be understood that they enter solely for instruction. The 
fee exacted for tuition and services stipulated to be rendered is simply and 
exclusively an equivalent for instruction received or to be received, and it 
is understood and agreed to by the student that no promise of an engage- 
ment is made. Though we do aid our students in their professional busi- 
ness interests, it is strictly a voluntary personal favor and does not in any 
way, manner or form enter into any responsibility or obligation of this 
school or its management. 

The "Alviene School" 



Fourteen 




Jennie Praeger 




Fifteen 



lone Gray 



ALVIENE DANCING 

America was the pioneer in that new style of artis- 
tic dancing which enraptured the world and produced 
a rebirth in the dance arts. This new dancing is free, 
dynamic, an expression of life through the spiritual 
beauty, inhering in the physical. 

For years the dance was shackled by a too rigor- 
ous adherence to the traditional movements; the 
dance became the slave of technique, instead of 
technique the slave of the dance. Mr. Claude M. 
Alviene, himself a supreme master of technique, early 
recognized the limitations placed upon the expressive 
beauty of the dance. Mr. Alviene, accordingly, con- 
ceived a new and distinct form of dancing, which was 
first introduced by his pupils, Mile. Catherine 
Bartho, Mile. Dazie and others, throughout the 
principal cities of Europe and America, especially in 
Russia, England, Paris and New York. 

This artistic achievement emphasizes a valuable 
characteristic of Mr. Alviene, the characteristic of 
pioneering new ideas, of creating new artistic stand- 
ards. Practical experience of many years con- 
vinced Mr. Alviene that some of the traditions and 
rules then governing the ballet school placed limita- 
tions upon the artistic dance. Did Mr. Alviene stop 
there? No; Mr. Alviene made an exhaustive study 
of the subject and developed his distinct style of 
dancing, the impulse of which soon flowered in new 
and wonderful dance creations. 

Art and freedom, self-expression and new forms 
of beauty, — that was the demand of the age in art, 
in literature, in life, and in the dance. And Mr. 
Alviene, applying this demand to the dance, realized 
that a system was required which would set free the 
dancer, develop rather than restrict the dancer's in- 
dividuality and creative talent. The system of Al- 
viene dancing, which is the fundamental factor in 
training at the Alviene Schools, is a unity of essen- 
tial technique plus tfie development of beauty in free 
expression of personality. Alviene graduates are 

Sixteen 




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instantly recognizable by the free yet harmonious 
spirit and repose of their movements, brilliancy in 
execution and originality of conception. 

It is the tragic experience of new ideas that they 
should meet opposition; but a new idea always con- 
quers if it is in accord with life and progress. Mr. 
Alviene's original ideas on dancing met with the op- 
position of the orthodox ballet masters, who were 
apparently more interested in defending their tra- 
ditions than in the artistic beauty of the dance. But 
Mr. Alviene, conscious of the artistic value of his 
ideas, disregarded the old masters, who opposed his 
genius to their traditions — and conquered. Soon, 
stimulated by the success of Mr. Alviene's pupils in 
the new dancing, other artists accepted the new ideas; 
and then came universal acceptance. 

As the new ideas of Wagner, Mascagni, Debussy 
and of other artistic pioneers conquered all opposi- 
tion, so Mr. Alviene's ideas met with success. It is 
through these great struggles that art renews its per- 
petual youth and inspiration. 

The world of art, as the world of life, is not satis- 
fied with living in the glory that was Greece and the 
grandeur that was Rome. The past must serve the 
present, and not the present serve the past. Art re- 
news itself through life; life is ever changing, and 
art must express life. And so the European masters 
of the dance, particularly the Russians, recognized 
and accepted the merits and advantages of the new 
technical system, and the wonderful new form of 
the ballet and of artistic dancing took the world by 
storm. It is a testimonial to the superb genius of 
Mr. Alviene, and it is characteristic of the sincerity, 
originality and efficiency which produce Alviene su- 
premacy and success. 

NOTE: The illustrations herein shown of former Alviene students ztrill con- 
vey an idea of a few of the many styles of dancing taught at "The Alviene." 



Eighteen 



THE RUSSIAN NORMAL DANCING 




Ann Shaw and Ainsley Lambert (as sketched Dy the 
artist — Kucher) in "The Faun," a dance creation ar- 
ranged by Mr. Alviene at the request of the Famous 
Players Film Co., and which was screened at the 
Famous Players' Studio for a Film Production, in 
which Maurice and Walton were featured 



The Russian Ballet is 
the combination into one 
vivid art-form of music, 
color, pantomime, drama 
and dance. 

The Russian form of 
training for the ballet is 
the combination of the 
technique evolved by the 
Balletmasters of the 
world, and developed by 
the Russian Imperial Bal- 
let School. The Russian 
School is based on the 
identical principles of the 
Alviene system, replacing 
the irksome, limiting rules 
of the traditional ballet 
with greater freedom of 
movement and expression, 
as required by profes- 
sional, classic, dramatic 
and acting dances, devel- 
oping in individuality 
and proceeding in con- 
formity with the person- 
ality of the artist. 

Professional Russian, 
Classic dancing in the higher form of Normal Art is sharply distinguished 
from the amateur "normal" dancing, which is the usual simplified form 
for teachers of Social dancing. The professional normal dancing is the 

highest art form in its dra- 
matic, classic and interpretive 
aspects. 

The term "Normal" is indis- 
criminately used and often mis- 
interpreted. Most of these 
schools do not really mean to 
infer that they teach profes- 
sional Normal dancing, but just 
the very simplified form of 
Teachers' Normal Dancing, 
which is meant for home func- 
tions, school children and play- 
grounds. 

It is a good form and proper 
for what it is intended, but it is 
not by any means applicable to 
professional Normal Dancing. 

Compare the dancing of the 
Russian Imperial artists with 
the products of teachers of sim- 
plified normal dancing and the 
two extremes are at once ap- 
parent. 




Blanche Young and Richard DeMar (as sketched 
by Artist Kucher) in "Beau Brummel," another 
dance creation arranged by Mr. Alviene for a 
photo-play scene at the request of the Famous 
Players Co. 



Nineteen 



The task of selecting a 
dance style or form and 
a particular line of re- 
lated studies will be 
greatly simplified by con- 
sulting this directory. 



A combination course of 
two or more studies may 
be arranged for or a sin- 
gle study pursued in any 
of the branches named. 



DIRECTORY OF STUDIES 

(For detailed mention of the studies quoted refer to Index) 

1. General Dance Technique and Physical Portrayal for 
all forms of the dance, including training for profes- 
sional Russian Dancing, Classic, Ballet, Character, 
National, Fancy, Dramatic and Acting Dances. (Tap 
and Step Dancing not included.) 

2. Classes for the arranging of Russian Classic Dances 
(only those advanced in technique are eligible). 

3. Step Dancing of every form and style, such as Buck, 
Wing, Clog, Jig, Soft-Shoe, Song and Dance, Es- 
sence, etc. 

4. Class for the arranging and composing of Tap and 
Step Dances. 

5. A combination course of general dance technique and 
step dancing, comprising the studies 1, 3 and 4. 

6. Stage Business and dances for vocal numbers in Mu- 
sical Comedies and Light Opera. 

7. A combination course combining the studies 1, 3, 6, 8, 
9, 10. 

8. Pantomime. 

9. Interpretation. 

10. Make-up. 

11. Classic Toe-Dance Technique. 

12. A combination Toe Course, comprising studies 1, 
11, 14. 

14. Composing and arranging of Toe Dances in class (only 
those advanced in toe technique are eligible). 

15. General nature, Grecian and Interpretative Dancing. 

16. Isadora Duncan Style of Dancing. 

17. The Dalcroze System of Eurythmic Dancing. 

18. Egyptian, Hindu and general dances of the Orient. 

19. Various forms of the Dances of Spain. 

20. Eccentric, Acrobatic and Grotesque Dancing. (Dances 
only.) 

21. Combination Course, comprising studies 1, 3, 20. 

22. Character and National Dances of all styles. 

23. Studio and Stage Dance Rehearsals. 

24. Practical Public Student Performances in Dance Plays. 

25. Practical Public Student Performances in Solo Dances. 



Twenty 



26. Team and Solo Dances for Stage Exhibition and 
Cabaret. 

27. Exhibition Stage Waltzes, Fox Trots, One-Steps : 
Jazz, Nut and Eccentric Dances. For single or team 
work. 

28. Normal Dancing for Teachers. 

29. Folk and Aesthetic Dancing. 

30. Fancy, Solo, Duet or Trio Dances in all styles and 
forms for Ladies and Gentlemen. 

31. Juvenile Department study and training for children. 

32. Auxiliary Courses. A number of Auxiliary Courses 
have been mapped out for those interested in a par- 
ticular dance study or studies and who for some reason 
may not be able to avail themselves of the more delib- 
erate training of the full six and eight month courses. 

33. Private instruction which may be arranged for in any 
study or studies. 

34. Class tutelage in any one or more studies. 

35. Private classes in any study may be formed by indi- 
viduals. 

Prospective students, in writing for information, should 
select and designate the number of the particular course 
desired and the study or studies and term in which they are 
interested. The Applicant may select and apply to enter 
whichever term of study is most suitable to his individual 
needs. 

Tuition fees will be quoted on any combination of studies 
selected upon request. 

Evening Studies. If interested in evening instruction 
refer to page 13. 

DATES OF ENTERING 

The full six and eight month Courses, also the 
various Auxiliary Courses for each of the different 
studies and dance forms are constantly forming. 
Applicants may conveniently enter at most any time, 
since new classes open on a stated day of each month 
throughout the year. 

To insure registration for the course selected, ap- 
plicants will greatly facilitate arrangements by ad- 
vising the school of the month they expect to enter 
and by sending in, as far in advance as possible, their 
application accompanied by a registration fee of 
Thirty Dollars, which will be deducted from the tui- 
tion fee upon entering. 

Twenty-one 




Annette 
Kellermann 



PROFESSIONAL TRAINING IN STAGE 
DANCING 

The combination XXX Course with a Junior and 
Senior term for all forms of the dance and Related 
Theatre Arts is of Six Months' Duration. The pre- 
scribed curriculum of the Junior period is the basis 
of a foundation for every form of a dance education. 
During the Senior term, in addition to advanced tech- 
nique, a consistent combination of any of the study 
and practice subjects listed in the Directory of Studies 
on Page 20 may be pursued within the duration of 
the course selected and the number of hours it in- 
cludes and constitutes. The great feature of con- 
venience and efficiency this course offers is that 
students may concentrate and pursue such distinct 
subjects which appeal to their immediate individual 
requirements and minute detail, doing away with un- 
necessary studies. 

This method of concentration means economy in 
time and expense, while gaining greater efficiency and 
achievement in the actual practical work in aim. 



XXX 

Course of 
Six Months' 
Duration with 
Junior and 
Senior Term 



XXX COURSE OF SIX MONTHS DURATION WITH JUNIOR 
AND SENIOR TERMS 

The XXX course is comprised of a Junior and Senior term 
with every day sessions (Saturday and Holidays excepted). 
Each session comprises two or more classes in different 
studies coming under the tutelage of from one to three 
Instructors, varying on different days, according to the re- 
quirements of the students as directed by the principal. 

Owing to the Dance plays, extra rehearsals, student ap- 
pearances and performances, the number of hours allotted to 
the course is sometimes exceeded, in which case no extra 
charge is made. 

In addition to the specialists presiding over the classes, a 
number of the classes are under the personal instruction of 
Mr. Claude M. Alviene and Mile. La Neva. 

Junior The J un i° r Course is the correct foundation for dancing of 
XXX whatever nature, and persons who have had little or no training 
Term are eligible to enter for the Junior Course. 

The art of dancing covers many classes of work, all arising from 
the same principles, but differing widely in style or expression, 
which depends upon the object of their uses, and their application 
to stage purposes. 

Twenty-two 



Under the Alviene method, this work is divided so as to lead 
the student by easy and natural progression, from the simplest to 
the most difficult and intricate action. 

With this object in view, and to obviate unnecessary waste of 
time this Department of the Alviene Schools has been so arranged 
and classified that the interest and progress go hand in hand. 

The curriculum of this Department is very comprehensive. I he 
work of the Junior Term includes instruction in the following 
studies: 

The Junior Course:— The true basis of all forms of the dance 
is made the first subject of the Junior Course, which begins with 
the study of the limbs and the principal positions of the legs, arms, 
trunk and head; preparatory exercises for physical development 
and the liberation and control of the muscular and nervous systems; 
simple movements, bending, stretching, raising and beating; com- 
pound and complex movements and steps; the carriage and move- 
ment of the upper body and arms ; arm movements (Port de bras) ; 
enchainment; equilibrium; relaxation, muscular control and the 
co-ordination of the various members of the body and how they 
are employed in harmony; the study of attitude and grouping; the 
classification of dances; the technical terms and their meanings; the 
analysis of movement; simple composition and primary pantomime. 

Fundamental rules for repose and expression, make-up, theory, 
and lectures. 

This training produces the necessary freedom and ease of execu- 
tion in body and soul. It frees the bonds of self-consciousness, giv- 
ing control and a confidence that bring about a refinement of 
movement and repose which add a finesse and a distinctive man- 
ner of executing the steps and movements necessary in expressing 
the spirit of the dance. 

Different forms of dances are taught, and some very beautiful 
dances are arranged. 

Note-Toe Technique, Training and Practice included in the 
course at the student's option. 

The Senior Course -.-Pupils who have successfully accomplished 
the work of Ae Junior Course or professional dancers who wish to 
impr^re or advince in their technique and perfect themselves are 
eSe to enter for the Senior Course, utilizing the study ^ a n d prac- 
ticf acquired to cover the entire subject of the Art of Dancing. 
This beTng an advanced course, it carries the student through he 
most intricate artistic detail. The studies of the Junior Course are 
Tre interwoven with more complex practical work to give that 
ardstic finish which can be acquired only by actual stage experi- 
ence supplemented by a rigorous training system. 

The Senior Course contains all those finer points which are the 
distinctive mark of the true artist, and which the aspirant for the 
h gher honors in professional dancing must sooner or later accom- 
plfsh and develop in order to achieve more than ordinary artistic 
success as a professional dancer. 



For Beginners 
and Advanced 
Students 



The Basis of 
all Forms of 
the Dance 



Individual 
Corrections and 
Assistance Given 
in all Classes 



XXX 

Senior Term 
for Graduates 
of the Junior 
Course and 
Professional 
Dancers 



For Higher 
Honors 



THE SENIOR COURSE 
The student now begins specialization. Here all the various Specialization 
Senior studies which pertain to that form and style of dance best Period 
suited I to I the student's individual talent and adaptability are con- 
centrated upon. 
Twenty-three 



For example, the aspirant to Russian Classic Dancing enters that 
class — the aspirant to Toe Dancing enters the Toe Class, while 
the aspirant to Nature and Interpretative Dancing enters the class 
for that particular study, just as the aspirant to American Tap and 
Step Dancing is placed in the classes devoted exclusively to tap, step 
and clog work. The Musical Comedy and Opera Artists enter 
combination classes of studies selected from the directory, which 
meet exactly with what they require and so on. By this system, the 
aspirant may specialize on any one or a combination of the studies 
for his individual requirements. 

In addition, advanced technique is included to those specializing 
in Russian Classic, Toe and Ballet Dancing. 

Pantomime, Make-up, rehearsals of Dance Plays and Solo 
Dances, Public Student appearances in Dance Plays. Reviews and 
Criticism are also important features of the curriculum of 
the course Junior and Senior term $350 

Four-Month XXXA — This course is the same as the XXX course in 
Course every particular, except the duration, which is four months 

instead of six $250 

Three-Month XXXB — This course is along the same lines as the above 
Course xxx course, except that its duration is but three months 

instead of six $195 

Note — The above courses are all comprised of sessions, 
each session is equal to two class lessons in different studies 
under different tutors with attendance every day, Saturdays 
and Holidays excepted. THE AUXILIARY COURSES 
which follow are comprised of classes (not sessions). 



AUXILIARY COURSES 



Six-Month 

Auxiliary 

Course 

Three-Month 

Auxiliary 

Course 



XXXC — Six months' duration, three class lessons weekly, 

two studies being on Dance Technique, and one on dances.. $130 

XXXD — Three months, same as above, except that it con- 
tains one-half the number of classes included in the 
xxxc Course $75 



Note — The following Combination Auxiliary Courses in- 
clude Private and Class instruction. 



Six-Month 

Combination 

Auxiliary 

Course 



XXXE — This course is of six months' duration in a choice 
of studies from the xxx Course or the Directory, com- 
prising 56 Class Lessons and 35 Private Lessons $200 

Note — At the option of the student, the studies of Course 
xxxe may be taken in a shorter period. 



Three-Month 

Auxiliary 

Private and 

Class Course 

Class Course 

Ballet Technique 

Exclusively 



XXXF — A three-months' Combination Private and Class 
Course comprising 20 Private Lessons in addition to 36 
Class Technique Lessons $125 

XXXC is comprised of thirty-six Class Lessons in Ballet 
Technique $60 

Twenty-four 



THE ART OF MAKING-UP 



Make-up is of the utmost importance. The art of proper 
make-up is the secret of success in stage illusion necessary 
equally to the actor, actress and dancer. 

Art that is art conceals itself in the perfect illusion pro- 
duced. Make-up should show absolutely no traces to the 
audience, otherwise its value is destroyed. It should be 
neither over-done nor under-done. 

The method of instruction in make-up here employed has 
been carried to the highest point of artistic perfection. It 
reaches the student the correct way to transform his face 
into any desired type, nationality or character. 

Students are familiarized with the articles of grease paints 
and powders, and how to apply them, and the effects ob- 
tained by the various make-up materials. They are taught 
priming, lining, high and low lights — this essential is both 
interesting and fascinating. 

The materials, the implements, and how to use them, are 
next in order. Here students are taught the fundamental 
principles which lead them to acquire the faculty of making 
up for youth and every type of individuality. 

Studying the eyes, their position, the shape and curve of 
the eyes, the eyebrows, the eyelashes, the face-line, the nose, 
the cheeks, the mouth, the lips and the teeth. 

The instructor also makes a study of each individual face, 
showing the way to make the most of the possibilities and 
the proper means to conceal its defects. 

Make-up is essentially based on studies from life. It is 
allied in character and method to Life Study. 



Make-up 
Material 



Implements 
for Make-up 



Study of 

Facial 

Characteristics 

How to 
Conceal 
Defects 

Historical and 
Fancy 




Twenty-five 



MR. CLAUDE M. ALVIENE. 

Ballet Master and Stage Director. 

A master in the methods of the Dance as it pertains 
to the Russian, Italian and American Theatre Arts. 

Director and Producer of many noted attractions 
in New York City and throughout the United States. 
Co-operated in the production of Col. Henry W . 
Savage's "Parsifal" in English. 

Dancing Master for the Colony Club of New 
York. Taught at the Miss Spence's School, for 
young ladies, and many other finishing schools of 
New York City. 

Many seasons, producer and director, of the 
Dances and Musical Numbers of the plays of the 
Triangle Club of Princeton University, also at Har- 
vard University. 

Mr. Alviene was for many years producer with 
the Hanlon Bros., stupendous pantomime produc- 
tions of "Superba" and "Fantasma." 

Mr. Alviene arranged original Carmencita Span- 
ish Dances. 

Among his pupils and patrons are Mrs. Chas. B. 
Dillingham, the wife of the distinguished manager 
of the Globe Theatre, the Hippodrome, N. Y ., and 
many big productions ; Mrs. Harry Payne Whitney, 
Mrs. John Astor and daughter, Vivian Muriel Astor; 
Baron and Baroness Castelli, Lady Constance 
McKenzie, Mrs. Arthur Scott Burden, Mr. Harvey 
Ladew, Countess Csaky, Signor de Rosa, Mrs. Geo. 
Clews, Miss Peggy Lynch, Mr. and Mrs. Geo. Q. 
Palmer and daughter, and Debutante classes of New 
York's 400 and other distinguished personages includ- 
ing many artists of professional renown. 



Twenty-six 



THE MASTER TUTOR 

The qualifications an ideal Master of the dance should 
possess is a deep knowledge of technique and of methods of 
tuition plus actual successful experience on the stage. 

The Master Tutor must himself be an artist as well as a 
teacher and director of other artists. 

Few, very few, Masters of dancing possess these qualifica- 
tions. Mr. Claude M. Alviene, Director of the Alviene 
School of Dance Arts, and Mile. LaNeva (his wife) and 
associate directress are among these few. Mr. and Mrs. 
Alviene have appeared before the footlights and back of the 
stage as tutors and directors of other artists, while the incom- 
parable success in dance creations of Mile. LaNeva during 
her professional career is still fresh in the memory of the 
theatre-going public. 

An Artist-Master whose tutelage inspires the student, is 
an incentive to Art and means achievement. 

A wealth of experience and original ideas is at the service 
of Alviene Students. Unto them is revealed the ways of 
artistic success, as well as the finer points of dancing, revela- 
tions that otherwise would take years to acquire. This 
tutelage means newer and greater dance ideas, creations 
which meet with the favor of managers because developed 
upon the basis of an intimate knowledge of what the theatre 
and the public demand. 

It is a point of Alviene tuition not simply to have pupils 
learn already-created dances, but to create dances to fit the 
student's ability and individual style; creative talent is a 
factor for success on the stage. 

The Alviene wealth of artistic experience and faculty of 
concentration and efficiency impart to the student technique 
and creative ability, and a practical insight into their ulti- 
mate stage purposes. 

A knowledge of theory and technique alone can never 
impart to a pupil all the elements necessary for success. 
Technique plus actual stage experience — this is necessary 
and it makes for perennial and increasing Alviene success and 
superiority. 

PROFESSIONALS COACHED 

At the "Alviene Schools" professional dancers 
may receive the benefits of consultation and helpful 
criticism in the delicate work of creating new dances 
or scenes for the stage or screen. The School offers 
them additional resources at an important moment. 

Twenty-seven 



INTERPRETATION 

Art, after all, is the interpretation of life. Whatever 
medium of expression the artist may select, the ultimate pur- 
pose is the interpretation of life — of its moods and action, 
its love and sorrow, its tragedy and comedy, the whole gamut 
of the emotions. 

Interpretation, accordingly, is art. It is a vital factor in 
artistic achievement, and its study should animate all pre- 
liminary training. 

The Alviene student is first made to interpret his own 
nature, and from this basis the study proceeds to other na- 
tures, other moods and emotions. By interpreting himself 
first, the student acquires the faculty of self-expression, 
sincerity and reality of interpretation. This is a process of 
creative originality and interpretation that flows into the 
more imaginative study of interpretation. 

Characterization is the culminating study of interpreta- 
tion, the means of uniting interpretation and impersonation 
into the characterization of a mood, an individual or a spirit- 
ual ideal. 

Interpretation varies as the different arts vary, but it 
possesses certain fundamentals which all must acquire; and, 
based upon these fundamentals, the Alviene student proceeds 
to apply them to the particular art that claims his ambitions. 



CERTIFICATES AND DIPLOMAS 

The Junior Certificate is given to all who complete the 
Junior Course satisfactorily. Special Diploma is given upon 
completion of the Junior and Senior Course. 

Certificates are also granted for courses of Private Les- 
sons, but the graduate diplomas are conditioned on at- 
tendance of the class-work, the required degree of profi- 
ciency and public performances of the School. 

There is a charge of five dollars for each Certificate issued. 



COSTUME 

Costume, Hair Dress, Civilian Dress — The dress of all Nations, 
Historical character and Fancy. 

How to Dress Copies of various costumes are drawn, that the actual details 

with Fitness may be rememDere d, furthermore, the principles are reviewed, and 

and Good tne P omts °f artistic dressing are furnished with suggestions and 

Taste comparisons. The dancer, on and off the stage, should know how 

to dress with fitness, good taste and sincerity, as well as with a 

knowledge of harmony and contrast in color, and of suitability to 

one's own figure and physical characters. 

Twenty-eight 




Mile. La Neva 

(Mrs. C. M. Alviene) 



Twenty-nine 




S. Plasikowski 



EACH DIFFERENT— YET EACH 

This page pictures a galaxy of artists per- 
forming a variety of five forms of toe dan- 
cing. It is one art, and yet each expression 
is different and individual. 

All of the dancers pictured on this page 
are recent Alviene students, now on the pro- 
fessional stage, and the talent of each was 
developed to harmonize with her own per- 
sonality. The dance of each fits perfectly 
her style and individuality, the personality 
beautifying the dance and the dance enrich- 
ing the personality. 

As a painter is careful in the choice of a 




Mile. Frances 




Ruth Lamster 



Thirty 



ARTISTIC AND SUCCESSFUL 

model for a particular picture, the models 
personality blending with the picture, so a 
master selects for a student the dance that 
harmonizes with the student's personality 
and individual talent. The production of 
great art is a process of selection and adapta- 
tion, of harmony and unity. 

It is a principle of the Alviene Schools to 
develop the dancer's style and individuality. 
Otherwise, a dancer will be simply a me- 
chanical thing, and the stage demands not 
marionettes, but creative and individualized 
artists. 




May Kitchen 




Ruth Lydy 





Thirty-one 



May Kitchen 



Junior Term TOE DANCING 

Professional Training in Classic and Fantastic Toe Dancing 
The instruction and training during the Junior period is com- 
prised of a special form of toe dance culture, invented and devised 
by Mr. Alviene that students may acquire the foundation and the 
basis for a correct form of artistic toe dancing from the very begin- 
ning. These studies and training are given in great detail, so 
that students develop the strength to stand on the toes and quickly 
proceed with the study and practice of actual dancing on the toes, 
though continuing with technique in a more advanced form, with 
its added plastic exercise and movements to attain the necessary 
qualities of freedom and ease in execution. While the dances 
taught in the Alviene classes bring about a refinement of movement 
and repose which add a finesse to the student's manner of executing 
the steps, movements and attitudes combining the student's tech- 
nical training and studies with practical work. 

SENIOR TERM 

Having successfully completed the Junior term, the student 
achieves a degree of proficiency which merits entry to the advanced 
technique and dance studies and training of the Senior term. It is 
now optional with the student to specialize on either the classic, 
the interpretative, the fantastic or the modern form of toe dance, 
or the student may choose to become versatile by studying several 
different forms. The physical training, technique and plastic 
movements are graduated to the specific needs and capabilities of 
students so as to lead them by natural gratuity and progression to 
difficult and intricate execution of artistic dancing without unneces- 
sary waste of time or energy. 

Course 10 — This course in Toe Dancing is comprised of a 
Junior and Senior term with everyday sessions, Saturdays and holi- 
days excepted. 

The curriculum of the Junior term comprises the following subjects : 

Classic Ballet Technique, including Bar exercise and practice of 
extended variety — 

Floor work and practice, Fundamental Steps, Balance and Plas- 
tic exercises, Bending, Elevations, Stretching, Turning, Ara- 
besques, Coordination of legs, arms and body, expression, adagio 
movements and harmony. Aerial work (balloon) such as a va- 
riety of elevations, high leaps, Arabesques, turns and twists. 

Toe Technique and practice to cultivate strength of the toes and 
limbs, agility, flexibility, suppleness and correct toe positions. Pan- 
tomime — fundamental rules and exercises for repose and expression. 

Make-up, Theory, Lectures and Instruction in Dances. 

Individual correction and assistance given in the classes. 

In the Senior term the studies of the Junior course are inter- 
woven with the more intricate studies and training of the Senior 
schedule. 

Advanced Classic Ballet Technique, Bar Exercises and Move- 
Senior Studies ments, Floor Technique, Adagio and Plastic Exercises to pro- 
mote harmony of arms, body and limbs. 

Elevations, Balloon — Aerial training, the various steps that per- 
tain to high jumps, leaps, Arabesques, throwing steps, such as 
Tour Jetes, etc. 

Toe Technical Class — Bar exercises pertaining to Toe cultiva- 
tion, Floor work in Toe culture, Toe work interwoven with re- 
lated technique. 

Pantomime and Pantomimic Scenes — Interpretation, Make-up, 
Dance Composition in Modern Toe Dances, Classic Toe Dances, 
Fantastic Toe Dances, Studio and Stage Dance Rehearsals, Public 
Student Appearances in Pantomime, Dance Plays and Solo 

Dances $450 

Thirty-two 



Eighth-Month 

Junior and 

Senior Course 

Toe Dancing 



Junior Studies 




DANCE OF THE SWAN 
Marion Saki, one of the principal toe 
dancers in the Russian Ballet — the first to 
be selected by Anna Pavlowa and offered 
engagement. Miss Saki, like many other Al- 
viene pupils, is a splendid example of Al- 

viene System and Training 



Course \0A — This course is 
identical with Course 10, ex- 
cepting its duration, which is 
of six months, instead of eight. 
Individual corrections are 
given in the classes.... $350 




Miss Saki 



Course 102? — This course follows along the same lines as Four-Month 

Course 10, except that its duration is four months. (All Course in 

Alviene class students are given individual corrections) . . $250 Toe Dancing 



Course 10C — This course follows closely along the lines of 
Course 10, being of three months' duration. It includes a 
well-balanced schedule, and affords a maximum of train- 
ing consistent with the period of the course 

Note — The above courses are all comprised of sessions, 
each session is equal to too class lessons of different studies 
under different tutors with attendance every day, Saturdays 
and holidays excepted. THE AUXILIARY COURSES 
which follow are comprised of classes (not sessions). 



$195 



Three-Month 
Course in 
Toe Dancing 



AUXILIARY COURSES 

Course 10D — Twelve weeks, one class daily, Saturdays and Three-Month 

holidays excepted, comprising two Toe and three Classic Toe Technique 

Ballet Technique lessons weekly $95 Classes Daily 

Course 10E — Twelve weeks, attendance three times weekly, Three-Month 

instead of daily. This course is comprised of two classes Course, Three 

in Toe Culture and exercises for strengthening and de- Class Lessons 

veloping the toes, and one class in Dance Technique weekly $69 Weekly 



Course 10F — Private Toe Class for the arranging and com- 
posing of Solo Toe Dances, two lessons weekly, twelve 
weeks, twenty-four lessons. (To be eligible for this class, 
pupils must be proficient to a certain degree in Toe and 
Ballet Technique) $50 

Thirty-three 



Three-Month 
Course in Solo 
Toe Dances 




Three Month Course 10G — Special corn- 
Combination bination Course of 12 
Course of weeks duration: 24 les- 
Six Different sons in Toe Technique, 
Studies. 24 lessons in General Bal- 
let Dance Technique, 12 
class lessons in Toe 
Dances, 8 lessons in Pan- 
tomime, 2 lessons in 
Make-up $110 



Twenty-four Course 10// — Twenty-four 
Class Toe class lessons in Toe 
Lessons. Technique $35 



Course. 



Private Course 10/f — 19 weeks, 3 
Lesson private lessons weekly in 
studies selected from 
Course 10 under tutelage 
of Mr. Claude M. Al- 
viene, Mile. La Neva 
(Mrs. Alviene) and as- 
sistant teachers $200 



Thirty- four 



DANCE PANTOMIME 



It Js a harmonious blending of music, rhythm, silent act- 
ing, and a succession of life pictures revealing the comedy 
and tragedy of life, a play in itself. 

Indeed, dance pantomime, or, more accurately, silent act- 
ing, is becoming more and more a supreme factor in the 
terpischorean stage arts of to-day. It tends to strengthen 
the contention that the aspirant for dance honors must also 
be equipped with an education in the mastery of pantomime 
expression. 

Emotions and sentiments, passion and beauty, delicacy 
and ferocity, all the moods of life may be convincingly ex- 
pressed through pantomime, and the modern artistic public 
demands all of these dramatic expressions in the dance. 
Through an education in pantomime the expressive powers 
are developed ; the student is taught to use every part of his 
body to tell a story without the use of words, to adapt dance 
movements to pantomime and pantomime to dance move- 
ments. The sincerity and originality of the student are de- 
veloped. In order to express grief, the student must feel it ; 
in order to express anger, the student must have it within 
him ; in order to express joy, joy must be experienced within 
one's self. Pantomime must appear as natural and sincere. 

The Alviene School, true to its spirit of progress, teaches 
pantomime in its most up-to-date form, the accepted modern 
form of "silent acting," comprehensive, broadened, and as- 
suring the student of all the newest means of artistic pan- 
tomime expression. 

The interpretive dance, the nature dance, the artistic, 
dramatic dance generally, all require pantomime for their 
adequate expression. Pantomime is necessary to the solo 
or duet dancer, and is still more necessary in the great dance- 
dramas which are perhaps the finest form of the modern 
artistic dance. 

The study of Pantomime is one of the essentials included 
in all Junior and Senior terms. 



RATES OF TUITION IN PANTOMIME EXCLUSIVE OF ANY 
OTHER STUDY 

12 Week-Course — 2 Classes Weekly, 24 Lessons $45.00 

18 Week-Course— 2 Classes Weekly, 36 Lessons 60.00 

24 Week-Course— 2 Classes Weekly, 48 Lessons 75.00 

10 Private Lessons 30.00 

24 Private Lessons 60.00 

Thirty-five 



The Art Dance 
of the Theatre is 
More than Steps 
and Figures, 
More Than a 
Dance 



Emotions 

and 

Sentiments 




Edith Checkley 



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Thirty-six 



INTERNATIONAL 

Each nation and people contribute freely and individually 
to the dance arts. The talents and the ideas of all nations 
unite in a "national" expression of dancing. 

When Mr. Claude M. Alviene was engaged by Mr. 
Henry W. Savage for his stupendous production in English 
of the music-drama "Parsifal," Mr. Savage searched every 
corner of the world for the greatest talent procurable. It 
was an American Company and it received the overwhelm- 
ing approval of the American press and public. But not 
every member of the company was an American, the cast 
included artists of other nationalities recognized in Grand 
Opera. 

The Russian Ballet, also, is international in its personnel 
though the Ballet Masters of the various Russian Ballet 
troupes surely possessed French and Italian names. More- 
over, the Russian Ballet is based on the fundamentals of the 
ballet as developed by the French and Italian school of the 
ballet, though the Russians have built upon and developed 
the basis of these fundamentals, making individual contribu- 
tions of their own. 

There were many distinctly non-Russians with the 
Russian dancers who adopted Russian names and passed 
as Russians. All of Mr. Alviene's pupils who were engaged 
by Mme. Pavlowa were obliged to assume Russian names, 
the only exception to this rule being one of Mr. Alviene's 
star pupils, the little American-Japanese, Miss Marion Saki, 
the beautiful, slenderly formed toe danseuse whose pretty 
face betrayed slight characteristics of the Land of Flowers, 
so she could not pass as a Russian only as far as her dancing 
was concerned. 

This proves, accordingly, that the Russian Ballet, as other 
great institutions, adopted the technique and arts of other 
nations, uniting them into a gorgeous, marvelous produc- 
tion. It proves, moreover, that the real master of dancing 
must be as broad as the dance itself in his methods and ideas, 
must be cosmopolitan in spirit, and must realize the fact that 
all schools of dancing are simply particular expressions of 
the fundamentals of dancing; that dancing must be taught 
upon the basis of these fundamentals, while conveying to the 
pupil all that is of value in the particular national adaptation 
and expression of these fundamentals. 



Thirty-seven 






R 

■5- 




Thirty-eight 



PUBLIC STUDENT APPEARANCES 

The test of theory is practice. The test of a school is 
that it shall make students practical adepts in the things it 
teaches. The student of "The Alviene" is equipped with 
practical stage experience, as well as with the theory of his 
art. This is an asset of incalculable value. 

Periodically, Alviene Schools present actual theatrical per- 
formances, with all the detail and spirit of the regular 
theatre, including discriminating audiences selected by in- 
vitation. 

At these performances, our dance students have an oppor- 
tunity of presenting their work in a stage form, before a 
real audience. This means that the student acquires the 
spirit, detail and finish of the actual professional dancer, 
developing stage presence and self-confidence. 

The manager's usual answer to the inexperienced appli- « T he result of 
rant is "Please get experience before applying." But how training ts a mind 
cant is, rieabc &ci ca^ «tVi* AlviVne" did vnth just vision to 

get this experience, if a school such as The Alviene did ^J^ ^ ^ 
not afford it ? The classroom alone cannot teach or give fofce fQ do; the 
that peculiar something, with which the professional dancer gran j rn aster is 
is identified, and which distinguishes the professional from Practice. 
the amateur, because it must be acquired by means of re- 
peated stage appearances, criticisms, tuition and directing 
It is the final finishing touch. It absolutely cannot be 
taught, it must be acquired by means of a process of develop- 
ment through these actual public appearances. The Al- 
viene School imparts this "professional polish to the student 
by means of these Public Performances, in which contact 
with the public and criticism and the reaction thereto ac- 
complishes the work of experience necessary to quality tor a 
professional debut and success. 

The artistic ability is broadened, and the public appear- 
ances give the student an opportunity of realizing his weak 
points, and whets his enthusiasm for excellence and perfec- 
tion in his chosen art. 

Theatrical managers are cordially welcomed to these 
performances. There are instances where students have re- 
ceived offers of profitable professional engagements immedi- 
ately after one of these performances. 

By this method students are graduated as experienced 
Artists and not as graduate students who are obliged to seek 
opportunities to get practical experience. 



Thirty-nine 




Mile. Dazie 



La Novita 




Mazy King 



Ethel Gilmore 




lone Gray 



Forty 



IMPROMPTU DANCES ARRANGED TO ORDER 

ALSO MIMETIC PLAYS, AND SCENES 

The success of many a dancer js due to the improvising 
instinct, the ability to create and adapt dances to any emer- 
gency. 

Much as an artist pencils the rough sketch of an idea 
on the spur of the moment, or a musician creates spon- 
taneously the theme of a new melody on the piano, so Mr. 
Alviene originates spontaneously new dances and dance ar- 
rangements. These are created to fit the varying talents 
and types of individuals, and they include any dance or dance 
problem that may arise and for all professional purposes, 
including dances for Grand Opera, Extravaganza, Light 
Opera, Vaudeville, Social Entertainments, Complete Dan- 
cing Acts, Pantomimic Plays, Solos or Duets, Ensemble 
Dances, and Dramatic Scenes. 

Alviene Dance Creations are arranged and originated upon 
request to fit the individual capabilities, talents and purpose. 
All creations are adapted to the particular requirements of 
the occasion. 

In his creative endeavors, Mr. Alviene is endowed with 
a natural gift for improvisation, together with an experience 
that in its results solidly unites winning effects and distinc- 
tiveness. Mr. Alviene has an unusual ability to secure re- 
sults from novices as well as trained dancers ; in fact, no 
talent is too small or too large to profit from the unusually 
rich and comprehensive genius of Mr. Alviene. 

The Alviene improvisation and arrangement of dances, 
realizes extraordinary effects because the dances are com- 
posed of movements which are in tune with the individual 
personality and talent. Whether one be on the first rung 
of the artistic ladder, or supreme among the heights of : 
achievement, both will succeed with an Alviene Dance. 

Indeed, it is not an unusual feature of the Alviene School 
to prepare principals of an operatic cast, within a limited 
time, in the dance or dances required for a coming produc- 
tion. Alviene dances are always artistic and appealing,, 
adaptable to any number of uses and program. 

One lesson, one person $10 

*' two persons $12 

Three lessons, one person $25 

" two persons $28 

Twenty lessons, one person $100 

two persons $120 

Forty-one 



Fire, Mirror and Flying Dancer 




Spectacular Novelty Dances 

and complete Acts created 

and produced 



Ameta 




Male Dancers 
are now an essential feature 
in the field of Terpsichore. 





George Bazata 



Forty-two 



FOR THE SINGER 

Singing, Acting and Dancing — The three are a unity. 

The cultivated voice of a singer is a thing of beauty; a sheer 
delight to hear; and professionally, a valuable asset. But the 
modern audience demands more than a voice in its singers; and 
singers who simply rely upon their voices are usually limited in 
their appeal and success. 

Usually the cause is that the more successful singer does not 
depend simply upon the voice, but upon other important art factors 
— personality, mime, acting and dancing. The eye is as much a 
receiver of artistic emotion as the ear, and it is the task of the 
singer to please each. The auditor is impressed not by a single 
emotion alone, but by a multiplicity of emotions; and the more 
emotions an artist appeals to, the larger the success. 

The aspiring singer must sooner or later realize that the voice, 
though a thing of beauty and of value, alone is; (from a pro- 
fessional and commercial standpoint) useless to the manager, 
and a failure in securing public approval, unless the singer supple- 
ments the voice with its other co-essentials — dancing and acting. 

Mary Garden is a case in proof. There are quite a number of 
singers with finer voices than Mary Garden's, and yet their success 
is not one-tenth as great. Why? Because Mary Garden, besides 
being a singer, is a consummate actress and danseuse; she unifies 
into one vital, flaming, beautiful and irresistible inspiration three 
great arts — song, dance and drama. Is it any wonder that Mary 
Garden made a willing captive of the public? 

Acting and dancing are as much a necessary part of the singer's 
qualifications as singing itself, artistically and commercially. 
Their unity heightens and enshrines the three arts into one inspira- 
tional whole, each quickens the appeal of the other, and by working 
in unison enriches and completes the three into one vivid, irresisti- 
ble climacteric unity of unparalleled beauty. Dancing and acting 
are an indispensable necessity to the vocal student in process of 
developing the artistic powers of charming the artistic public. They 
impart personality, pliability, charm, forming a tout ensemble 
appealing alike to the manager and the public. 

We all know that it requires years of study to develop a culti- 
vated, resilient and artistic voice. In fact, the wise and diligent 
vocal student and artist studies the art even during the zenith of 
his career. 

It is different in the case of "acting and dancing courses," either 
or both may be acquired, properly and sufficiently for all artistic 
purposes, within a limited time. They should complete your 
artistic equipment, harmonizing all your talents and prepare you 
for making your professional debut and your ultimate livelihood, 
bringing returns for the money expended and enabling you to keep 
up with your current expenses as you go along. 

The added accomplishment of acting and dancing, accordingly, 
bring the singer's voice to a state of harmonious artistic finesse, 
and make it an easily marketable possession. 

The related Arts of Acting, Dancing and Pantomime are abso- 
lutely indispensable to the singer. But this is a very important 
fact: as you study and lay thei foundation for your career, you 
should acquire these arts simultaneously. 

And yet many serious, aspiring students are making the sad 
mistake of studying singing alone, neglecting the supplementary, 
the equally paramount arts of acting and dancing. The conse- 
quence? Disappointment; the cause of many a ruined career. 
The student who specializes in singing alone is working in the 
dark, acquiring an incomplete artistic vocabulary, wasting the 
precious moments of opportunity, bringing, not ultimate success, but 

Fortv-three 




*w 



ALLERIA 



the day of tragic realization of the fact that they are not fully 
equipped to meet the requirements of Theatre Art. 

Preparation determines your success or failure, not talent alone. 
And preparation doesn't simply mean study, but the right kind of 
study, the right appreciation of artistic requirements, the blending 
into a beautiful harmony of your talents through a unified system 
of study in all the related arts, not one alone. 

The folly of the familiar saying, "I am a singer; I don't have 
to dance or act," or, "I will study dancing and acting as soon as I 
am through with my vocal studies," is the cause of many an 
aspiring singer's shattered hopes, and totally at variance with the 
actual policy of the modern stage. When theatrical managers and 
agents turn an aspiring singer down, the realization comes of the 
mistaken course they have pursued, but it may be too late. The 
time to start right is right now. You want to succeed and succeed 
soon. You don't want to fail, nor do you want to start all over 
again, allowing the precious moments of opportunity to slip by 
into the world of wasted years and of bitter regrets. 

We are often asked, "Does dancing harm the voice?" And our 
answer is not ours alone, but the unanimous, insistent answer of 
vocal masters and celebrated artists, "No, most emphatically, no!" 
On the contrary, an artistic, sane form of dancing is of the utmost 
value indirectly to the student's singing, and the vocal master's 
success in training. 

The art of the actor is a developer of personality, of charm, 
of appeal, and of self-confidence. Experience shows that all these 
attributes are as an Aladdin's Lamp that opens up the mysterious 
world of achievement and success. 




Flower Maiden Scene of Colonel Henry W. Savage's Stupendous 
Production of "Parsifal" in English 

Forty-four 



The Dance touches life and art at an infinite number of points; 
aye, the Dance is life itself, and life is a dance in harmony with 
the rhythm of the universe. The Dance may express all moods 
and all feelings; express the joy of life or the tragedy of being. 
It promotes health, poise, physical and mental resiliency, and 
develops a finer race of people. Artists of all sorts are more and 
more using the Dance as a complementary to their particular art. 
The Dance is being made the basis for the education of the young 
in our schools. As a personal, individual, temperamental problem 
alone, you must acquire the art of the Dance if you wish to become 
that rare thing — a harmonious personality and a supreme artist. 

Vocal students may enter our Dancing or Acting course while 
studying singing. The vocal student who is beginning his first 
lesson is just as eligible as the finished vocal artist. 

FROM THE "OPERA MAGAZINE" 
THE NECESSITY OF A DRAMATIC TRAINING 
FOR THE "ARTIST IN OPERA" 

The true artist must be equipped to undertake any kind 
of a role, whatever. For a real human being is a very 
complex affair, and so, to give a complete characterization 
of the stage human being, the artist must be a master of 
every ingredient that enters into his composition. He must 
be tragic and comic, dramatic and lyric; he must be lov- 
ing and hating, carefree and pensive. In a word, he must 
run the complete gamut of human emotions. To be able 
to portray any one type, there must be none he cannot 
portray. 

Surely, the artiste who can master an Isolde will make 
Marguerite more human, more like her prototype in 
Goethe's "Faust," than one whose best dramatic achieve- 
ment is a "Butterfly." 

Those interested in acting and practical training in 
musical productions write for Brochure of Operatic Depart- 
ment, Alviene School, N. Y., enclosing twelve cents in 
stamps. 




Forty-five 

Lois Ewell 




Nora Bayes 




THE ART OF TALKING THE SONGS 
Across the Footlights 

As the world develops in civilization, lesser talents are 
more and more being utilized ; and this is as true of art 
as of industry. 

Even those, accordingly, whom Nature has not endowed 
with great voices may meet with success if their talent is 
used for the new art of Talking the Song. Indeed, the 
success that many people with limited voices secure in 
this new art is an illustration of the familiar adage, "Out 
of little acorns mighty oak trees grow." 

What is this art? It is a combination of music and 
acting, and the peculiar science and means of getting 
songs across the footlights in a form that instantly wins 
the audiences. Now you will ask, since voice is lacking, 
what is it then that captivates the spectator? That is the 
inexplainable secret which each one acquires though in a 
different form. I will say it requires an intimate, in- 
tuitive sense of musical rhythm, and often, extemporiza- 
tion, more than a great voice; the adept in this art meets 
with extraordinary appreciation and applause and cor- 
responding pecuniary advantages. One of the finest 
adepts in this art is Miss Frances White, and her success 
is a marvel of the stage, and proves what may be done 
with talent though the voice may necessarily be small. 
Yvette Guilbert and the great Nora Bayes are both pre- 
eminent exponents of this form of the song. 

The vogue of Talking the Song is acquiring tremendous 
popularity. It is, after all, simply a revival in modern 
form of the poetic chant of Homer's day. Its primitive 
appeal is multiplied by all the arts and technique of civili- 
zation. 

A success in this art requires simply an adequate appre- 
ciation of your talent, and its judicious development by a 
competent teacher. It requires a little of singing, a little 
of dancing and acting, and their development in accord 
with one's personality. The studies are arranged to ac- 
commodate students with voices of every calibre; and the 
beginner in singing is as eligible to enter the Alviene 
School for this course, as the singer of cultured attain- 
ments. 

The whole secret of success is adaptation, studying care- 
fully the pupil's talents and developing individuality, 
those little twists of character and expression which are the 
makers of success in this art. 

The beginner or the advanced student may enter the 
Alviene School and continue with their own singing master, 
without losing one iota of efficiency as the studies are 
framed to supplement your other work. 

The hours of study can be made mutually convenient. 



Forty-six 



FROM THE "THEATRE MAGAZINE" 

In musical comedy or light opera the mere singing — no 
matter how perfect — is not sufficient to assure the success 
of an operatic debutante. It demands a certain degree of 
dramatic training and stage presence. Such elements as 
delivery, personal appearance, histrionic talent and a ca- 
pacity for dramatic characterization are important factors 
in achieving success. The greater and more pronounced 
these phases are revealed on the first appearance of a 
debutante the more emphatic will be the public recogni- 
tion. Without these dramatic gifts the outcome will be 
doubtful. 



Dorothy 
Jordan 



Dress Rehearsal 

of a Musical Play 





Forty-seven 



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Forty-nine 





Fay Marbe 

From the "Alviene" direct to Broadway Musical Productions 



DANCES OF THE ORIENT 

The Oriental influence has been very potent in 
our dances, an influence that makes for spirituality 
and the vivid expression of the beauty of the soul. 

As among all peoples, the dances of the Orient 
express the prevailing religious impulses, which in 
turn are a complex of all the moods and passions of 
these strange peoples. They are dances of life and 
love, witching and fervent, yet delicate and re- 
strained. 

The music is primitive, and precisely because of 
this primitive quality it appeals to the often blase 
people of civilized lands. Weird wind instruments, 
flutes, cymbals and odd-looking tambourines are 
usual, and their combined melody hath charms to 
please the civilized breast. 

The spirit of the Orient, of the feeling for the 
infinite, of a love of life that is tempered by thoughts 
of the eternal, is a spirit amply expressed in its dances 
and that is being absorbed by western people. 

Egyptian, Hindoo, Oriental or any other dances, 
also many not listed, are included in the xxx 

Fifty 



Courses or may be taken separately, in class or pri- 
vate lessons. 
Special course of Six Months' Duration, 2 lessons 

weekly $90 

Special Course of Three Months' Duration, 2 

lessons weekly $50 

For Private Lessons — Tuition Fees refer to Index under heading Private 
Lessons. 

THE DANCES OF SPAIN 

An ever-living and unforgettable moment of one's 
life is to see the fiery grace and charm of the dancers 
of Spain. Their dances are stately, chaste, beautiful 
and gorgeous, combining and expressing the passion- 
ate abandon of life with all its delicacy, charm and 
restraint, warm and inspirational. 

All the dances of Spain are of this character — the 
racily refined and popular Fandango, the exquisite 
Boleros, the whirlingly rhythmic Sequidillas, the 
dashing Jaleo de Jerez, song-dances such as the 
Danza Prima, the Habas Verdes, the Polo, the glori- 
ous Flamenco and many others. 

These dances express the soul of a people cultured 
by nature itself — of life, living. They express an 
art that makes one feel it is gorgeous and inspiring 
to live. Spanish dances are becoming a real factor 
and success in our theatres. 

The simplicity and ease of acquisition are other 
remarkable characteristics of Spanish dances. 

Note — At the option of the student, the study of 
Spanish Dances may be included in Course xxx, or 
may be specialized in, to the exclusion of any other 
study. 

Auxiliary Courses exclusively in Spanish dancing 
or any other dances, also many not listed, are included 
in the xxx Course or may be taken separately, in class 
or private lessons. 
Special course of Six Months' Duration, 2 lessons 

weekly $90 

Special course of Three Months' Duration, 2 les- 
sons weekly $50 

For Private Lessons — Tuition Fees refer to Index under heading of Pri- 
vate Lessons. 

Fifty-one 




Bianca 




Alviene Pupils — Drawn from Life by the Artist — Farnam 



CLASSICAL NATURE AND INTERPRETIVE DANCES 

The world has awakened, and the dance is re-born. The dance 
is realizing our newest ideals and aspirations in the realm of art. 
Visions of marvelous, ethereal and yet passionate beauty are pictured 
in the creations of the newly matured dance. All the contributing 
elements of the arts are being fused into one gracious and universal 
art — the art of the classical Nature dance and Interpretive dance. 

These new dance-forms, inspired as they are by the "dances' of 
the ancient Greeks, are not in any sense slavish revivals. Imitation 
is the death of art. The beauty that was Greece lives in its sculpture 
and architecture, and we have no record of its dances except picturi- 
zations on vases and monuments. It is the spirit of the Greeks that 
animates our modern art, not any particular dance forms — the spirit 
of life, of joy, of the glorious abandon of self-expression, of natural 
simplicity. 

The modern classical Nature and Interpretive dances are Grecian 
in this sense only — that in spirit they express the Grecian sense of 
beauty and joy of life. 

Through this spirit, synthesizing the art and culture of the twen- 
tieth century, dances are being created that for subtlety of move- 
ment and artistic finesse are incomparably finer than the dances of 
olden days. The classical nature and interpretive dances are a har- 
monious blending of all that is finest in the art and culture of yes- 
terday and today. 

The Nature Dancer expresses and interprets nature itself, 
through a series of harmonious , simple movements in tune with the 
rhythmic simplicity of nature. Birds and trees and flowers, vast 
empty spaces and floivering fields, the sighing winds and the gorgeous 
heavens, all these are the inspiration of the Nature Dancer. She is 



Fifty-two 




natural and freest in bare 
feet and unfettered body, 
pulsing and melting away 
and coalescing into artistic move- 
ments, posing pictures of life's imme- 
morial beauty. Music and body 
merge into one appealing harmony — the glo- 
rious spirit of humanized poetry, the essence 
of innocence and candor. 

Dance and theme^ music and body blend to- 
gether, expressing the varying motifs and moments 
of the composition, the body becoming an artistic, 
pliable instrument of expression, the physical language of the 
emotions. 

The Interpretive Dance is pre-eminently the creation 
of the individual, a work of art as much as painting or sculpture. 
Mastery of the body, imaginative and not simply technical mastery, 
is as essential to the Interpretive Dancer as to the supreme violinist, 
who makes his instrument express all the moods and nuances of his 
musical genius. 

RATES OF TUITION 

Nature and Interpretive, or any other dances, also many not listed 
are included in the xxx Courses or may be taken separately, in class 
or private lessons. 

Special Course of Six Months' Duration 

2 lessons weekly $Q0 

Special Course of Three Months' Duration 

2 lessons weekly $50 

For Private Lessons Tuition Fees refer to Index under Heading of 
Private Lessons. 



Fifty-three 




THE DANCE AS A MEANS OF REVEALING 

THE BEAUTIFUL 

From the London Times 



The advantages arising from a knowledge of The Dance are 
many, especially since it is in vogue everywhere. Do we not 
see with what a graceful mien and becoming confidence, the well- 
tutored youth presents himself? How agreeable and well regu- 
lated are all his motions. And with what a pleasure do we behold 
the elegant and engaging deportment of a young lady, whose 
naturally fine form has been improved by a proper knowledge of 
all those graces which are characteristic of dignity and ease? 
Such a one, when compared with the uninstructed, pretty, bashful 
rustic — just emerged from the country — how striking the contrast. 
Yet, perhaps, the native qualities of the latter may be equal to 
those of the former, only the opportunities for improving them 
have been neglected. A young person, in this situation, may 
properly be compared to the diamond which is rude in its figure 
till the lapidary's skill has wrought it into form and given it the 
brilliancy of which it is capable. 

There are very few who are so happily formed by nature as 
not to require the assistance of art to rectify some few imper- 
fections which an impartial eye may discover in them; therefore, 
the sooner those blemishes are attended to the better. All natural 
as well as acquired defects in individual cases may be greatly 
overcome, and easily corrected, through the medium of the dance. 



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M. de Verne and Sisters 



Fifty- font 




AMERICAN DANCE ART 

While the fundamentals of dance technique are 
universal, each nation or people has its own particu- 
lar racial and characteristic expression of the dance. 

The dance cannot become wholly and superbly 
vital and vitalizing unless expressed in the form of 
an original national Dance Art. 

It has been recognized that America must develop 
its own dance expression, characteristic of our people, 
that this country abounds in original dance rhythms 
and potential dance forms. The finest of the new 
generation of artistic dancers are American. Out of 
all this wealth of material, we are now in process of 
developing a genuine American Dance Art. 




Fifty-five 



George Lome 



The successful production recently of an Ameri- 
can ballet, based on an American theme and rhythms, 
"The Dance of the Place Congo," marked a tre- 
mendous step forward in this development. 

One of the supreme merits of the Alviene Schools 
is its American spirit, its fostering of American ex- 
pression in the dance. In its distinctive classes for 
the Dance American, Mr. Alviene, in this great task, 
brings into use all the technical knowledge of the 
great foreign masters plus an intimate contact with 
all phases of American life as the basis for develop- 
ing an American Dance Art characteristic and worthy 
of our people. 

Mr. Alviene has created many characteristic 
American dances. It is interesting to record that the 
music for Mr. Alviene's latest dramatic dance crea- 
tion, the American Indian Bacchanal, was composed 
by Mr. James M. Beck, Jr., son of former Attorney- 
General James M. Beck. 

In the good old days, not so long ago, either, when 
President Woodrow Wilson was President of Prince- 
ton University, Mr. Alviene was producing the musi- 
cal dance plays for the Triangle Club of Princeton, 
of which Mr. Beck was a member. Mr. Alviene 
recognized Mr. Beck's great musical talent and cre- 
ated the "Indian Bacchanal" dance to the music com- 
posed by young Mr. Beck. The result was an ideal- 
istic dance of great imagination and beauty. 

This All-iVmerican Classic Dance is Indian in 
theme and spirit, but it should not be confused with 
"Indian dances" which are Indian in nothing but the 
name. The Indian Classic Dance is interpretive and 
characteristic, an expression of the life and love and 
art of the primitive Indian, imaginatively conveyed 
and artistically pictured. Vigorous in action and 
artistic in atmosphere, the "Indian Bacchanal," in 
inspiration, music, costuming, and art, was an Ameri- 
can dance created by Americans and danced by 
Americans. 

The American Classic Dance is the classic, inter- 
pretive and nature dance adapted to the spirit of 

Fifty-six 



America and expressing American life and traditions. 

In this, Mr. Alviene is, indeed, an artistic pioneer of 

vitalizing quality. 

American or any other dances, also many not 

listed, are included in the xxx Courses or may be 

taken separately, in class or private lessons. 

Special course of Six Months' Duration, 2 les- 
sons weekly $90 

Special course of Three Months' Duration, 2 les- 
sons weekly $50 

For Private Lessons — Tuition Fees refer to Index under heading of Pri- 
vate Lessons. 



Fifty-seven 




George Lome 



PRIVATE LESSONS 

IN ANY FORM OF THE DANCE OR ITS RELATED ARTS 

The special advantage of private instructions in the school 
rather than with an outside private teacher is that the student 
is carefully advised and guided regarding the subjects to be 
taught and the teachers chosen. It is possible to arrange a 
course of instruction of any length, which can involve a 
number of teachers, each in their own specialty, and a variety 
of subjects, or a course of private lessons can be concentrated 
on one subject or with one teacher. 

TUITION FEES, PRIVATE LESSONS 

Private Lessons in any form of the Dance or its related Arts: 

1 Lesson $5 

10 Lessons $40 

20 Lessons . . . . : $70 

From Assistant Instructor 

1 Lesson $3.50 

10 Lessons $30 

20 Lessons $50 

From Mr. Alviene 

1 Lesson $10 

3 Lessons $25 

20 Lessons $100 

44 Lessons $200 

DALCROZE EURYTHMICS 

The highly developed Dalcroze system of rhyth- 
mic movement is invaluable to the student of dancing. 

Jacques Dalcroze has authorized only a few of his 
pupils to teach his system. The Alviene School has 
been fortunate in securing one of his best known 
graduates. It is possible to acquire a complete tech- 
nique in this most graceful and delicate art. Many 
persons lack a natural sense of rhythm and should 
take advantage of this opportunity. 

Dalcroze Eurythmics are included in the XXX courses or may 
be taken separately in class or private lessons. 

Special Course of Three Months' Duration 
2 lessons weekly $55 

Special Course of Six Months' Duration 
2 lessons weekly $100 

Private Lesson Courses 

21 private lessons $100 

12 private lessons $60 

Fifty-eight 



Rich de Mar 

and 
Lou Swan 




PROFESSIONAL TEACHERS AND EXPONENTS OF 
EXHIBITION DANCING 

Teachers and exponents of artistic dancing as 
well as persons who aspire to become professional 
teachers and professional dancers will find here 
a course of training which will provide them with 
important and valuable assets toward the accom- 
plishment of their ideals, and an invaluable assist- 
ance in winning reputations that should com- 
mand large remuneration. 

The instruction is in strict conformity with the 
rules which govern the modern system of train- 
ing, lay the foundation for correct study, and 
lead to higher creative ability. It supplies the 
necessary technique, expression and skill in exe- 
cution for those who have an earnest and sincere 
ambition to succeed and rank with the celebrated 
artists of the hour. 

Exhibition Team dances or any other dances, 
also many not listed, are included in the xxx 
Courses, or may be taken separately in class or 
private lessons. 
Special course of Six Months' Duration, 2 

lessons weekly $125 

Special course of Three Months' Duration, , 

2 lessons weekly $70 

For Private Lessons — Tuition Fees refer to Index under 
heading of Private Lessons-. 




Dell and Thomas 




Fifty-nine 




May Kitchen and Mons. Paul 






TAP AND STEP DANCING 

All dances which include taps, rag, jig, clog or buck steps 
are included within the scope of Tap and Step Dancing. 
This form of dancing is characteristically American, a typi- 
cal development of the dance rhythms and movements of 
American origin. Twenty odd years ago step dances were 
the dances of the American stage. They still are to-day, 
though in a revised form which is more artistic and up to 
a higher standard, more effective and more popular than 
ever. A training in Step Dancing is indispensable for the 
musical comedy or vaudeville artist. Its technique is rigor- 
ously exact and the student easily acquires many different 
styles of Tap Dances after mastering the first principles. 
There are Neat, Straight, Eccentric, Grotesque and Acro- 
batic Tap Dances. Some are characteristic and require a 
knowledge of Pantomime. 

PRINCIPLES OF TAP DANCING 

The fundamental principles of Step Dancing are derived 
from Taps, Shuffle, Beats, Slap Steps, Stop Flams, Hopping 
Beats, Time Steps, Pick Up Taps, Cutting Shuffles, Cutting 
Shuffles with Heel Taps, Cross Taps — Front and Back, 
Hop Beats, Reel Steps, Flams, Grace Taps, Falling Down 
Steps, Off to Buffalo, Palmer House, Corkscrew, Grape 
Vine Skating Steps, Single Rolls, Double Rolls, Treble 
Rolls, Hopping Beat Rolls, Spring Beats, Single and Double 
Taps, Cuts, Breaks, Sluffs, Double Spring Beats, Spring 
Beats and Bells, Pigeon Wing, One Foot Wing, Johnny 
Cooler, from which all other steps and combination steps are 
derived. This form of professional dancing is in constant 
demand. Managers, Producers and Directors require that 
all artists do some Tap and Stepwork. Though they may 
be clever in Fancy or Ballet dancing, Tap and Step Dan- 
cing is a distinctive form of dance and an additional require- 
ment and a necessity to satisfy our American theatre-going 
audiences. 

NEW FORM OF STEP DANCING 

The newest forms of Tap Dances come under the head 
of Characteristic Story and Pantomimic dances, in which 
the scope for expression and variety is almost unlimited. In 
this new form, Tap Dancing is very popular. It is adaptable 
to single dancers, team-work or trios. The new style in- 
cludes the soft-shoe tap and step dances never before used 
in pantomime form. 

Sixty 



RAG DANCES AND BUCK DANCES 

Standard Buck and Rag Dances, Cane Rag, Lazy Rag, 
Possum, Lackey, Connjine, Grotesque and Trick Buck 
Dances, Skating Dance, the Nut Dance, the Slippery Slide 
Dance, Comedy Rag, Eccentric Rag and Cane Dances in 
every style and form. 

The newest in Rag and Jass Dances : The Tickle Toe, 
the Rainbow Jass, Tiple Toper, the Jass Woggle, Sliding the 
Slide. 

Dances of Erin — Irish and Straight Jigs and Reels and 
all Irish National and Characteristic Dances; Scotch Clan 
Dances, Characteristic Comedv and Eccentric Dances. 




De Mar and Swann 

Mythical Dances — Mixed Dances, Scarecrow Dance, 
Strawman Dance, Tinman Dance, Gingerbread Dance. 

Novelty Dances — Parasol Dances, Table Dances, Wood 
Mat Dances, Jingle Dances, Drum Sticks, the Bell Hop. 




SONG AND DANCE 

The old style and the new forms of Song and Dances 
are comprised of effective steps and combinations of Fancy 
Tap Steps and Breaks. Either form is effective as a specialty 
or in connection with modern songs. 

Skipping Rope Dances are executed while jumping the 
skipping rope. Picture Dances and Statue Dances are in a 
class similar to the song and dance style. 

Every form and character of theatrical dances taught to 
either beginners or those advanced in dancing. Dancing 
acts and specialties for one or more persons composed and 
arranged in up-to-date adaptations. 

Sixty-two 



De Mar 







Acrobatic Dances — Comedy Dance, Frolic Dance, 
Lucky Tramp Dance, Silence and Fun Dance. 

Characteristic Negro Dances — Wing Dance, Slap 
Shoe Dance, Essence Dance, Coonjine, Cane Dance, Dance 
of the Picaninnies, Peanut Dance, Corncracker Dance, Bell- 
boy Dance, the Chimney Cleaners, Sand Dances, Sand 
Shuffle, Sand Jig, Sand Reel, Marathon, Skating, Chocolate 
Drops. 

American-Indian Dances — Indian Dances in step form for 
American Dances (Classic Form, see Classic Dances). 

Hiawatha Dance, Squaw, Big Chief Dance, War Dances, 
Religious Dances, American Indian Dance in step form, and 
many others. 

High-Kicking — Acrobatic and Eccentric dances are again 
in vogue, only in a variety of new forms with some light 
Tap Steps, which greatly add to their attractiveness. 

Some of the features in this style of dance are high kicks, 
swing twists, one leg turn twists, swing kicks, leg shoulder- 
ing, drop splits, back roll twists, cross twists, bunch rolls, 
cartwheels, back limbers, back kicks and eccentric bell steps 
interwoven with many other unique and novel steps. 

At the present time they are extensively introduced in 
Musical Comedy Production and as Specialty Acts in 
Vaudeville. 

These dances are arranged as solo for either lady or 
gentleman. Acrobatic dances are also very effective in duet 
form for sister team work or for two gentlemen, or lady 
and gentleman. 

Clog Dances — Straight Clog, Lancaster Clog, Triple 
Clog, Waltz Clog, Wooden Shoe Clog and Special Novelty 
Clog and Quick Step Dances of many different styles, types 
and characters; also Fancy, Straight, Eccentric and Nov- 
elty Dances. 



Ruth Lydy 



/ 



Sixty-three 




June Roberts 




Military Dances — American Tom- 
my Atkins, Solo Dance, the Spirit of 
76, Solo, Duet or Trio ; the Veteran, 
Solo; the Drum-roll Dance, Solo; 
Taps, Solo ; the Dance of the Ensign, 
Solo or Duet; Sailor, Solo, Duet or 
Trio; the Sea Dog, Solo; A Yankee 
Hero, Solo ; Dance of the Lieutenant, 
Solo; a Sammy Dance, Solo; Dance 
of the Jolly Tar, Solo; the Gallant 
69th, Solo ; Stars and Stripes, Solo. 



Mile. Frances 
RATES OF TUITION 

IN TAP AND STEP DANCING 

Course 19. Four Month Course with daily instruc- 
tion Saturdays and Holidays excepted, is a combina- 
tion course in training on Tap and Step Dances, 
Specialty Acts, etc., constituting a selection of studies 
from the Directory which total seventy class lessons 
on various studies, under different tutors and twenty 
private lessons from Mr. Alviene $250 

Course 19A. Four Month Course in Tap and 
Step Dancing. Two class lessons weekly. Instruc- 
tion on Technique and Theory, Straight and Eccen- 
tric Step, also steps of different types and character. . $60 

Course 19B. With Pantomime and Make-up, com- 
prising 8 lessons on Pantomime and two in Make-up, 
in addition to the studies of above course 19A $75 

Course 19C. The Above Course 19B with the Panto- 
mime and Make-up and twenty private lessons in ad- 
dition to Song Number, Monologue and Specialty 

Work $135 

PRIVATE LESSONS IN TAP DANCES 

FROM FACULTY TEACHER 




One private lesson $4 

Ten private lessons $35 

Twenty private lessons $60 

Forty private lessons $110 



Sixty-four 



Danse Militaire 




Claude Eddy and Margie Earl 
Danse L'Amour de L' Apache 



NATIONAL AND 
CHARACTER DANCES 

The large number of 
Character and Demi-Char- 
acter Dances of the many 
different Nations, taught at 
the "Alviene" are typical as 
to the racial characterization 
and spirit, with distinctive 
expression, bearing, Make- 
up, and Costuming. These 
dances are enriched and 
elaborated upon so that the 
greatest possible effects are 
realized with the aim that 
their appeal is universal and 
consistent with the require- 
ments of professional Play 
Houses. 



A great variety of Russian Dances in up-to-date forms. 
Many beautiful new Italian Dances, also the favorite La 
Furlana, the ever-winning Tarrentellas and numerous other 
Italian Dances. 

The celebrated French 
Dances, L'Amour de L'- 
Apache, Le Domino Rouge, 
and countless others, also 
Spanish, Oriental, Egyptian 
and dances of all nations in 
every conceivable style and 
form. 




Sixty-five 



Marion Saki 



DEPARTMENT OF SCREEN DANCING 



Alviene Screen Dancing is an adaptation of the dance in the form 
that makes it applicable to Screen purposes, where its artistic ap- 
peal is greatest, and where its exuberant perfection comes nearer 
to "the last word" in screen dancing. 

Realizing that a new form was needed which would give danc- 
ing a place in the Picture world equal to the one it enjoys in stage- 
land, Mr. Alviene set about to devise a form in which to present 
it that would widen its field of usefulness and artistic application. 
The new form of Screen Dancing is in full accord with the modern 
spirit of progress, and Alviene graduates can instantly be recog- 
nized by their brilliant execution, untrammelled style and a true- 
to-life expression that is distinctive. 

Though still in its infancy, the Alviene form and style of Screen 
Dancing has gained conspicuous public notice, since it was first 
introduced by "Alviene" pupils, whose artistic rendition was en- 
thusiastically received and applauded. 

It is no longer the practice of the artistic world to live under the 
vanished grandeur of the past, and to contemplate with ecstasy the 
glories of the "Good Old Days." The world about us has kept 
pace with the world of Science and the age which has produced 
the wonders of electricity and applied Chemistry has also wel- 
comed broader and newer ideals in Art. 




Shawn and Harrison 



Sixty -six 





DeMar 
and Swan 



Mile. Stephani 
Danse Cobra 

Just as the higher arts of camera acting have 
supplemented the old time movie acting, so the 
Camera Dance of today has come to end the 
fate of the old stage form as it was unsuccess- 
fully used for the screen. 

RATES OF TUITION FOR SCREEN DANCING 

Thirty-six Lesson Course in Preparatory 
Training of Expressive Arts and Dance 
Technique. Pupils may arrange to 

take two or more lessons weekly. . . . $60.00 

PRIVATE LESSONS 

One Private Lesson $4.00 

Ten Private Lessons 38.00 

Twenty Private Lessons 70.00 

An Education in Dance and Expressive Arts 
is of great artistic value, a physical up-builder 
and a dominant factor for social culture. 



Danse Antique 
Dorothy Molineaux 




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Sixty-nine 



THE ALVIENE INSTANT DANCE WRITING SYSTEM 

The x^lviene Dance Writing system has overcome 
the most difficult problems of dancers and teachers 
to record the movements and steps of a dance in a 
quick, simple and yet understandable way. 

Mr. Alviene, who for many years has given this 
important subject much original study, research and 
experiment, has evolved a system of dance writing 
incomparable in its simplicity and efficiency. 

The illustration will demonstrate the extraordi- 
nary value and simplicity of the Alviene Instant 
Dance Writing System, especially since the St. Leon 
system as developed by Adolph Zorn, after years of 
tests proved inefficient and practically dropped out 
of usage. 

All steps and dances are written from a specta- 
tor's view, the writer is supposed to face the dancer, 
therefore in reading or writing steps, the dancer's 
rgiht leg is opposite our left, while the dancer's left 
leg is opposite our right. 

THE FIVE FUNDAMENTAL POSITIONS IN DANCING 



L. Standing in first 
position. 

II. The right foot is 
shown in the Second. 

III. Right in Third. 

IV. Right in Fourth. 

V. Right in Fifth Posi- 
tion. 



How to write the right 
foot positions* shown 
in plate A by the Al- 
viene Writing System. 



How to write the let'l 
foot position of Plate A 




A 



Warning — The Alviene Dance Writing System is duly copyrighted in the 
United States, and European countries. Do not reprint or sell. 



/ i "n 



n. 



i. 



i. 



1. EL 

Right Foot 



I. E. 

Lett Foot 



Y. 



i \ f r ( 



Y. 



B 



C 



Seventy 



Below, on plate D, the foot characters are added 
to indicate the various foot positions. For example, 
to make it a sole position add the sole character rep- 
resented by a short horizontal line on the lower end 
toward the left just as an artist facing you would 
draw a line sketch of your right foot, assuming you 
were standing in the second sole position with the 
toe turned out. As illustrated in plate D. 




J 

I. 

J 



} ] } 



D 



m, 



m 



TT 



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7 

E. 

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i. 



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Er. 



T. 



1 1 1 

M. E". T. 



H 



After the above studies have been mastered, these 
characters can be written in the dance staff (not 
shown here) to indicate by one stroke according to 
where it is placed, a floor position, a low, medium, 
high, super high, or eccentric position at the same 
time indicating any desired move such as a hop, a 
jump, a leap, etc., simultaneously. Its value in time, 
its expression, bended, stretched or normal resting 
leg, and the position of the free foot, the carriage 
of the body, head and arms, inner and outer curves. 

Note — Instruction in Alviene Dance Writing is 
included in the curriculum of some of the courses. 
A book on Alviene Dance Writing is now in prepara- 
tion. 
Seventy-one 



Plate B is here shown 
with the sole positions 
added. 



Ball Characters-Added 
to the hve positions of 
the right. 



The five positions with- 
out any foot charac- 
ters indicate a point 
position. 



The same five positions 
with the heel charac- 
ters- added, to write the 
left foot reverse the 
position characters. 



The five positions of 
the toe tip with toe 
characters (the dot). 



NORMAL COURSES 

PROFESSIONAL INSTRUCTION IN NORMAL DANCING 

FOR TEACHERS AND ASPIRANTS DESIRING TO 

BECOME TEACHERS 

Advanced dance technique with special technique 
on the related arts. 

The immediate necessity of the dancing teacher 
is a broader technical training and a knowledge oi 
the art of imparting it. 

The teacher as an example to the pupil as well as a 
prestige to his school should be equipped with un- 
questionable ability and dances that excel, dances for 
his own individual use. 

The related arts of Pantomimic expression and In- 
terpretation should not be lacking. They are as im- 
portant as the steps, for without them the steps are 
incomplete. 

Mr. Alviene says "If I could not have the unity 
of both arts, and were limited to choose or depend 
upon either one, I would prefer pantomime, for with 
it I could at least express myself while a jumble of 
steps alone are meaningless." 

Alviene students are brought in contact with a 
more substantial form of dance technique. Tech- 
nique which is not necessarily too intricate to acquire, 
though it is on a higher plane. It gives more dis- 
tinct and definite results, it is more effective and more 
trim, Alviene dances are refreshing and pupils carry 
with them that peculiar style of the exceptional 
dancer. They show agility, precise execution, and ex- 
pressive ability, more like the artist-master. 

THE SCIENCE OF TEACHING 

Success as a professional dancer is not always a 
guarantee of equal ability as an instructor. Great 
dancers are seldom able to impart the secret of their 
own success. On the other hand, we could name sev- 
eral teachers of undoubted ability, who, for various 
reasons, are utter failures before an audience. 

Seventy-two 



A difference is necessarily made in our Senior 
Course m the requirements for the two lines of pro- 
fessional work, the artistic and the pedagogic. In 
the latter, more emphasis is placed on scientific and 
accurate knowledge. In all cases, however, the fac- 
ulty requires a sufficient degree of technical skill to 
enable the teacher to illustrate his instruction. For 
entrance to the Senior Course the full Junior Course 
or its equivalent is required. 

Theory 

i. Lectures on Dancing and its Allied 
Arts. 

2. The Conducting of Classes and Sys- 

tems of Instructions. 

3. Technic, as Applied in Art and its 

Stage Purpose. 

Methods 

4. Method of Composition of Dances 

and their analysis. 

5. Relaxation and Repose, the Secret 

of Grace, with its Law in Nature 
and in Art. 

6. Music, its Swing, Rhythm or Char- 

acter, and its Relation to Dan- 
cing and Vice Versa. 

History 

7. History of Dancing and its Origin. 

8. Celebrated Artists and Their Ac- 

complishments. 

Translation and Explanation of 

French and Italian Technical 

Terms. 

Dance Writing 

CHOREGRAPHY (dance writing) which 
is taught in a revised practical form, by Mr. 
Claude M. Alviene's American system. 

Seventy-three 



FOLK DANCES 

The folk dances of Europe, which now form so 
important a factor in physical training, are analogous 
to folk lore, or traditional mythology, of which they 
are the rhythmic expression. 

The folk dance is a distinct form of dancing which 
is neither social nor theatrical, but lies between the 
two classes. 

The subjects of the folk dances range from the 
simple child's singing game to the representation of 
industrial operations, weaving, shoemaking, etc., and 
often run into acrobatic feats. 

The various nations of Europe have their indi- 
vidual folk dances, which differ one from the other 
in accordance with the different national characteris- 
tics. These dances are taught at the Alviene Schools 
in the most authentic manner by specialists, and 
thus the atmosphere of the dance is more perfectly 
preserved than would be the case were the charac- 
teristics limited solely to the principles of the art 
of dancing. 

CERTIFICATE OF GRADUATION 

Students pursuing any of the various courses of- 
fered by the "Alviene" and attaining the prescribed 
standard, will be graduated, receiving a diploma in- 
dicating the character of the studies and work accom- 
plished, signed and approved by the Faculty of the 
"Alviene Schools." 

In addition to the regular schedule there are Satur- 
day and Evening Classes designed to meet the needs 
of teachers, professional people and of those who 
are otherwise engaged during the usual school-day 
hours. 

The course is of three months' duration and in- 
cludes instruction from a number of instructors in 
the different dance studies and related arts with 
dance technique as it applies to professional train- 
ing. It is more rigorous and complete than the usual 
normal course. 

Seventy-four 



Toe Dances, Interpretative, Nature, Classic and 
Russian dances are taught in great detail, also the 
usual story and Pantomimic dances. These dances 
are unusually novel and unique. For those who want 
to be up-to-date, a mild form of American Tap and 
Step dances are included in the course. Pantomimic 
and interpretation are necessary vital studies and are 
given in connection with the Dance. 

American Classic Dances are the Dances of to-day. 
American Classic Dances to American Music on 
American subjects and arranged by Mr. Alviene, an 
American Master; these dances of our own country 
are the Artistic Sensation of the hour. Some are in- 
cluded in the Normal Course. 

Tuition fee (3-month course) $150 

One Month $60 

Sessions every day, Saturdays and Holidays ex- 
cepted. 



The feature of the Alviene Normal Teachers Course is 
that the dances taught attract the most desirable class of 
pupils which means artistic prestige and financial success. 
Then too, the Alviene Course comprises a broader variety 
of up-to-date dances including the new American Classic 
dances also tap and step dances and a large list of other 
Novelties in Interpretative and Story Dances. 




W. Ramsdell 



Seventy- five 




The Astairs 



JUVENILE DEPARTMENT 



The Children s Hour — It is the hour of sheer delight, 
of unspoiled simplicity, of hope and yearning for the future. 
Out of this hour comes the great things in the days ahead. 

Our Juvenile Department combines a knowledge of the 
child's psychology and requirements with human instincts, 
love of the child and adaptability. 

In this department children are taught dramatic arts and 
dancing in all its phases as part of the flowering life and 
instincts of the child. 

There are classes in the technique of the dance, including 
side practice and artistic pantomime, Spanish dances, French 
dances, Serpentine dances, Scardes, Russia and Hungarian 
dances, classic, nature and historic and all styles of toe dan- 
cing, also step dancing, such as buck, wing, waltz, clog, soft- 
shoe dances, jigs, reels, the dances of all nations, and others. 

In addition to this instruction there is a special series of 
mild physical exercises designed to build up a child's breath- 
ing apparatus, muscular tissues and general health. The 
children are taught to breathe properly, to use their voices 
correctly, to read and recite with vocal and physical expres- 
sion. Careful attention is given to the cultivation of refined 
manners and correct deportment. 






Seventy -six 





Master Carlin 



Ethel Mary Oakland 



Dorothy Lull 




Tom Carlin 



Showing Pupils of "The Al- 
viene" Children's Classes. 



The Morvays 





Arnold Grazer 




Clare Daniels 



Muriel Halliday 




-vjw?- 



Rose and Jean 
Rodika 



RATES OF TUITION 

JUVENILE DEPARTMENT 

Regular Classes in Fancy, Toe, Classic, Interpretive and 

Character Stage Dancing. 

Course J No. 1. Ten weeks' course in Dance Tech- 
nique and Dances every Saturday at 11 a. m $11.00 

Course J No 2. Twenty lesson course, instruction 
and schedule same as Course J No. 1 $20.00 

Course J No. 3. Children's Class in Song Numbers, 
Acts, Sketches, Monologues. Not less than eight 
consecutive weeks, one lesson weekly $12.00 

Course J No. 4. Twenty consecutive weeks. In- 
struction and schedule same as Course J No. 3. . . .$28.00 

Course J No. 5. Speech and Allied Arts for Acting, 
Reciting and Entertaining. Ten weeks, every Sat- 
urday at 10 A. M $11.00 

Course J No. 6. Twenty lesson course, instruction 

and schedule same as Course No. 5 $20.00 

Course J No. 7. For Photo-Play Class in Ex- 
pression, Dramatic Action, Pantomime, Studio Re- 
hearsals in Screen Scenes and Make-up. Ten weeks 
every Saturday at 10 A. M $11.00 

Course J No 8. Special four month Combination 
Course in Dramatic and Related Arts, comprising 
studies in Voice, Dramatic Reading and Acting, 
Pantomime, Dramatic Action, Make-up and prac- 
tical stage rehearsals and public appearances in plays 
on the school stage. Technical studies and rehearsals 
twice weekly, each Wednesday (after school hours) 
and Saturdays ' $60.00 

Course J No. 9. Four month course. The studies 
are the same as quoted in J No. 8 Course, with the 
exception that Musical Plays are produced instead of 
Dramatic Plays. (Only pupils qualifying in danc- 
ing are eligible to this course.) $60.00 



PRIVATE LESSONS 

Single lessons or courses of private instruction in any 
study may be arranged for at any time. Special rates ac- 
corded to children. 

Individual Private Lessons are available at any time of 
the year. A course of private instruction in any department 
of the School may be arranged for by any one not a member 
of its regular classes. 

Scz'cntx-ciqht 




S3 



5 8* 



5 



&■ £3 



GREAT TALENT OFTEN HESITATES 



"Latent, among 
the people of our 
country, is all 
kinds of artistic 
talent, much of 
which, unfortu- 
nately, goes to 
waste." — From 
an address by 
Otto Kahn 



An experience of over twenty-five years proves conclusively 
that many, unknowingly, possess great talent, which they for 
some reason neglect to develop. 

Talent does not always manifest itself upon the surface 
until the spark of practice awakens it into life. It requires 
more than an ordinary expert to reveal hidden talent; for 
this reason the "Alviene" will give examination gratis to all 
interested aspirants who are not sure they possess the neces- 
sary qualification and render an impartial report. Are not 
the finest precious stones imbedded in the deepest earth? 
Talent is a diamond in the rough, which practice polishes 
and reveals in all its brilliancy. 

The stage always welcomes new and unusual talent. You 
may possess exactly what is required — a hidden mine of tal- 
ent that awaits developing. 

It is the Alviene School's function, through its Consulting 
Service, to analyze you and reveal the talent that you may 
unknowingly possess. 



Note 

This book 

pertains to 

Dance and 

Expressive 

Arts 

exclusively. 

For 

catalogue 

of other 

departments 

address 

Assistant 

Secretary 

"Alviene 

Schools" 

enclosing 

twelve 

cents in 

stamps. 



The "Alviene Schools" comprise the following depart- 
ments : 



The Alviene School of Dramatic Arts, 
The Alviene School of Speech Arts, 
The Alviene Institute of Photo-Play, 
The Alviene School of Opera, 
The Alviene School of Vaudeville, 
The Alviene School of Dance Arts. 



The tuition charges are in proportion to the course selected 
and the length of the term. 

The larger the course, the better you are equipped. 



Small courses equip students for small parts. 
The very small courses are preparatory only. 



Complete courses fit pupils for larger opportunities, which 
means, their services should have greater commercial value. 



Eighty 



LIBRARY OF CONGRESS 



III 

029 819 186 6 



